gb-1834-07-17-01

            Kensington Gravel Pits 17/7 – 34 My Dear Mendelssohn
When I think how long it is, since your kind and interesting letters were received here, I feel pain. Yet my apology, for so long delaying to write to you, may be comprised in a single word – “occupation”. That is the word, and I will not waste your time by adding another to it; feeling assured, you are convinced that I can not have a greater pleasure than that of corresponding with you.
We are all rejoiced to find, that you are so comfortably placed at Dusseldorf, and that your numerous avocations agree so well with your taste and inclinations. The present, I consider to be a very important period of your life: God grant that the result may exceed even the wishes which we never cease to form for you. You have business on your hands to relieve the occasional tedium of Study; still you have leisure enough to plan, and to execute, great works. How different is your state from that of the Musician in England! If he venture to woo the Muse, it must be by fits and starts, and, sometimes, after long intevalls – as Sailors woo their mistresses – and, from the very irregular nature of the courtship, it often happens that nothing comes of it.
You will not, therefore, be surprised to hear, that I experienced no small difficulty in the composition of my two last Motetts – indeed, till the Xtmas holidays commenced, continued application on my part was quite out of the question: the care never can be different with me, unless by some interposition almost miraculous. I need not till anyone, of your observing and reflecting mind, how unfavourable such a state is, to invention, and the production of works of consequence. I have heard much of the divine impulses of genius, and of its marvellous, and almost instantaneous productions, but I have believed very little. On the contrary, I am of opinion that excellence can only be obtained by repeated, and continued efforts: – how it is in the affairs of continuation, that I so often find myself at a loss. No matter! By hook or by crook – as we say in England – my Motetts were finished; and with this letter, through the kindness of Mr Benecke, I trust you will receive one of them. My faithful Scribe is now hard at work, and does not intend to employ herself on any thing else till the copy is finished.
It fortunately happens, that german words will go very well to my Music; and Klingemann has engaged to put one line in your language, that you may have as little trouble as possible, should you do me the honour of a performance. If you sit at the Piano, the Motett will go admirably with your accompaniment only: when you see the Score you will be able to decide whether your Orchestra will enable you to perform it in full. From your account, I think your Orchestra would be much more than equal to it. The other Motett – that which was performed at the Philharmonic Concert – you shall receive in due time; but it is nearly as long again as that which I now send, and the copying of it will be serious business. It is to latin words “Exaltabo te Deus meus Rex &c”, and is in six parts – two Cantos, Alto, Tenor, & two Basses – with full accompaniments of course. It is not necessary for me to enter here into any further description; but I may add, that it was succesfull, at the Philharmonic, beyond my expectations. Pray believe that I shall be delighted to send these compositions to you, and that there was no occasion to accompany your request for them with so many assurances of their being safely kept. By the terms of their contract with us – terms which you must remember – the “Exaltabo” is the property of the Society for two years; with the other I may do as I please. It was written with a view to the Birmingham Festival; but the good folks of Birmingham have enough on their hands, in Neukomm’s new Oratorio, and my Motett (chiefly I must say in accordance with my own wish) stands over to a “more convenient season. ” The subject of our friend’s work is David. His visit to the Camp of Israel; his combat with Goliah; his victory and triumph form the first act. In the second, we have the jealousy and despair of Saul – his battle with the Philistines – his death – David’s call to the Throne and the rejoicing consequent on that event. There was a rehearsal of the Oratorio, on Saturday last, at the Hanover Square Rooms. The Orchestra was complete, though not numerous; but the Chorus was miserably thin and ineffective, Machin, who sings the part of Goliah, and Phillips, who sings the part of Saul, were also absent, and Edward Taylor sang for both; it fortunately happening that the Giant is slain before the thing is heard. Under each circumstances, you may easily suppose, the Oratorio was very imperfectly performed. Still we had something like a general impression of it, and I am sorry to say, that impression was not altogether in its favour. There are some fine parts, but they are seperated by others which I fear will not add to our friend’s high reputation. He seems to have considered his Audience, time, place, and circumstance, with great accuracy, and knowledge of mankind, and I think his composition will quite transport the Provincials. But, for us, he has left much to desire. I would have more elevation of Style – more conformity of Style – a more careful adjustment of the several parts – less of the Orchestra, and more of the voices. Above all, I would have much less of the brass instruments, which recur so often as to become painful. Harper – your favourite Harper – had no sinecure on Saturday morning: he was perpetually shifting his mouth pieces, for Neukomm has employed the Trumpet in all sorts of passages, and in all sorts of scales. He passed some hours with me on Monday, and, in the course of our conversation, I ventured to hint that I thought he had been a little too “strepitoso”. “Your Oratorio ”, said I, “is written for the Men of Birmingham, and, as they are such great workers in metal, I suppose you thought you could not give them too much brass. ” You know how truly amiable N is. He smiled – acknowledged “I might be right” – but pleaded the custom of the present day, and his own fondness for a “brass band”. “My dear friend” – said I – “a brass band often delights me; but you know we may have too much of the best things. ” He bowed assent; and so our discussion on that subject ended, as such discussions usually end; that is by each party retaining his own opinion. Remember, my Dear Mendelssohn, that all I have written, on this subject, is written in the strictest confiedence. You must consider my opinions as crude & hasty; for they are formed on a single hearing, and you know, as well as any man, how imperfect a judgement we may form from it. Compare what I have said, with all you may hear from Klingemann, and the Moschless, and form no opinion from my representation alone.
By this time, with all your patience and endurance of “Slipslop” correspondence, you must have had enough of me; but I am determined to repay your last letter, “with usury”, and, therefore, I proceed to give you some account of our late “Royal Festival” – though at the risk of repeating many things with which you are already acquainted.
The notion of this great Metropolitan meeting originated with our friend Sir George Smart. It is true, that, after his plan was made public, A B C D – and so on half way down the Alphabet came forward, and declared, on their honour and conscience, that they had been long labouring with a similar design. But, as it always happens that no such intention is ever announced without many counter pretensions being set up, little notice was taken of these worthies, and Sir George secured to himself the Patronage of their Majesties, and of all our Principal Nobility who take any interest in such musical performances as those which he proposed to be held in the Abbey. Knyvett, I believe, in his capacity of Conductor of the “Ancient Music” gave him the most trouble. But our friend Smart is a good general. He surveys his ground well, before he sets his battle in array, & then does not venture to fight, without being well assured of the power, and good disposition, of his allies. To drop metaphor, he overcame all obstacles, and was appointed solo Conductor – a situation to which, without doubt, he had aspired from the beginning. All the other leading departments in the Orchestra were divided, and Cramer, Spagnuoletti, Weichsel, Mori & & figured in turn, with eight different Organists, good bad & indifferent. This division of the labour, and of the honour, was well intended; but I doubt much, whether the general performance was benefitted by it, and sorry I am to tell you, that it did not prevent grumbling. If you wish to be informed of my employment on this interesting occasion, know that I was one of the band of “gentlemen ushers” whose business it was to see that the company was properly seated; especially those who had tickets for the reserved places – these reserved seats in the Abbey were on the plan of the Stalls at the Opera House. Among the ushers were John Cramer, Neate (who arrived from Munich about six weeks before the Festival) Griffin and many more whom you know, and I am proud to tell you, that we “covered ourselves with glory”. From Mr Mrs & the Misses Hopkins, Tomkins, and Simpkins, up to the Duke of this, and the Duchess of that – may even to Royalty itself – all were loud in our praise. Henceforth, therefore, looking on ourselves as being quite perfect in all matters polite, we shall repose under our laurels – take no more dancing lessons, and throw away all our copies of Lord Chesterfield’s letters.
There were four public rehearsals, and four performances, corresponding with them, to which the Public was admitted.
The first day began with the Coronation Anthem “Zadoc the Priest”, after which the Creation and a miscellaneous act were performed. The second day’s performance consisted of the Coronation Anthem „The King shall rejoice (a very superior composition to the preceding) a miscellaneous act, and the greater part of Israel in Egypt – this was the triumph of the Festival. A selection from Judas Maccabeus constituted the chief business on the third day, which ca on the whole was uninteresting, and the Messiah occupied the fourth. The Orchestra, vocal & instrumental, consisted of about six hundred and thirty performers, who (with the exception of some of the principals) appear to have been chosen with considerable care. From such numbers, the most astonishing effects were anticipated. Many timid persons declared, that the Church would be shaken to pieces – others, with a little more nerve, thought that only the roof would be blown off. Never did any mountain in labour bring forth a smaller mouse! The fact, when contrasted with the predictions, became quite ridiculous; this was owing to two causes. In the first places the Church was filted up by persons who had no knowledge of musical effects, nor of these circumstances which aid or which injure them. In the second place (and this is the material point) the building is not favourable for such performances; consequently some portion of the Audience heard the Chorus without the Band – others heard the Band without the Chorus: a few, only, heard the effect of the whole. There were forty violins on a side, notwithstanding which, I can assure you, that, in my place, the Orchestra never was so powerful as it often is at the Philharmonic Concerts. In spight of these partial drawbacks, the whole performance gave the highest satisfaction, and hundreds were disappointed, who applied for tickets when it was too late. Sir George managed his part of the business with much ability, and a subscription has been raised for the purchase of a piece of plate, which is to be presented to him as a token of the regard which is felt for him by his professional bretheren. I ought to inform you, that the Subscription was confined to the Orchestra, and the ever memorable band of “gentlemen ushers”. These is talk of a dinner, at which the presentation is to be made: with us, as you are well aware, nothing can be done without a dinner.
Though my subject sinks much in importance, I must not omit to inform you, that a Society has lately been established here called the “Society of British Musicians”: its objects are the composition & performance of Music by natives of the British empire only. Some years ago the Concentores Society, at my suggestion, proposed something of the same kind, though on a much smaller scale. We gave one series of Concerts, under great disadvantages; but the experience of that season convinced me that such an undertaking might, by proper management, be made to prosper. But I failed in my endeavours to rouse my professional friends to the necessary exertion, and the whole dropped dead. What will be atchieved by the present Society remains to be seen: they cannot fail, however, for lack of members. There are already three hundred members, and more than fifty other persons are seeking for admission. At present, the administeration of affairs is in the hands of professors who are not much known and possess very little influence: should the Society prosper it is probable that the reins may be assumed by those who are more capable of managing them. It is intended to give Six concerts, between the months of October and January, the subscription for which will be only one guinea! When the season at year, at which the Concerts are to be given, and the terms of the subscription are considered, we may expect that if our audience be “liberal” it will not be very “enlightened”. N’importe! – there is stuff enough among the members to make out a very good Orchestra – which is the thing most wanted among us.
I am anxious to hear something of your Oratorio : by this time it may be finished. Pray – my Dear Friend – be merciful in the use of the brass instruments. I am at all times ready to surrender my ears, on reasonable conditions; but a cannonade or any disposition to attempt a storm, puts me in a fury, and impels me to the most desperate resistance. This reminds me to say, that these was for too much trombonizing of Handel at the late Festival. You know I do not like Mozart’s accompaniments to the Messiah – I wish he had never written them – judge them how I felt, when I heard the “Master” improved, by trumpets here, and trombones there, according to the superior taste and profound knowledge of X Y & Z – Bah! It is almost unnecessary to tell you, that the compositions of Handel put all others in the back ground: he was indeed the “Giant Handel” as Pope calls him. Now what is the cause of this superiority? I think it may be told in a few words: When Handel writes for voices, he depends on voices for his effects, and not on the Orchestra. When, therefore, we listen to his great works, our minds are not distracted by conflicting powers – the Band assists the voices, it does not govern them – and he strikes, to use Mozart’s admirable expression, with a “thunder clap”, because he strikes with undivided force.
But I must really think of concluding. For some hours I have been labouring – much I fear to the loss of your precious time – under a furor scribendi. I have treated you as a Pastry Cook treats a new couver, when he gives him a good cramming, that he may want no more for a months. Thus, if you consider the length of this letter, and its weight, you must admit it to be a dose which will serve you till Xtmas. A few words relative to our home department must suffice. God be praised we are all well, and are all assembled here, at headquarters, with the exception of Mary. She is gone to Dulwich on a visit to Mr and Mrs Hawes: they have taken a house there for the summer. Sophy is now busy with your new Fantasia in F # Minor . John is painting away, and, I trust, is making progress in his art – Charles has not yet left school, and can only give a little of his time to music; but, at the commencement of next year, he must go to work seriously. Fanny is quite hearty: she has excercised herself much in gardening lately, and has greatly benefitted by it. My dearest wife is remarkably well, and is frequently complimented by her good looks. For myself – baking a few minor miseries. I am as tolerable as an elderly gentleman can expect to be. Thus I have gone through my list; but I must not forget to tell you that last week my sister-in-law Caroline Callcott was married to Jolly, a worthy brother Professor, with whom I believe you have some acquaintance. They are now in the Isle of Wight, at a beautiful place belonging to Cartwright, and no two human beings ever had a fairer prospect of happiness. We had a grand merry making here, on the evening of the Marriage. The next evening we passed at the Moscheless, and all my family went to bed so much tired, that on the following morning, our opposite neighbours were alarmed at observing our house continue to be so long shut up. I trust you continue receive good accounts from Berlin: pray, when you write, remember me most kindly to your good Father. All here send their kindest regards, and I remain, my Dear Mendelssohn,
most faithfully yours WmHorsley
 P. S. I have lately received my Diploma from Stockholm, and have now the honour to be a Member of the Royal Academy of Music in that city. I am the first englishman who has received this distinction, and I am much flattered by it. I owe it intirely to the kind offices of my friend Neukomm; for it was he who recommended me to send a copy of my book of Canons to Academy.
I am preparing a present to Glees for my brother members. Glees I may presume will have one recommendation, at least – that of novelty. Apropos. The Copy of my Motett No 3 which you will now receive agrees page for page with that whence it is taken, so that you can readily refer to any part on which you may think proper to make observations. I know you will give me sound criticism, and not more compliments. Addio!
 Pardon me, for not having mentioned “Bach’s Passione” which you had the goodness to send to me, and now accept my best thanks for it. There are twenty other things which I could write about. After all you will receive this long epistle through Klingemann – so you must wait a short time for the Motett.          

            <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-1834-07-17-01" xml:space="default"> <teiHeader xml:lang="de"> <fileDesc> <titleStmt> <title key="gb-1834-07-17-01" xml:id="title_d6998367-c1e7-43d8-a63e-93f2a9cbd113">William Horsley an Felix Mendelssohn Bartholdy in Düsseldorf <lb></lb> Kensington, 17. Juli 1834</title> <title level="s" type="incipit" xml:id="title_bc77ad23-1da4-4810-9dfc-973712594231">When I think how long it is, since your kind and interesting letters were received here, I feel pain. 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Juli 1834</title> <incipit>When I think how long it is, since your kind and interesting letters were received here, I feel pain. Yet my apology, for so long delaying to write to you, may be comprised in a</incipit> </msItem> </msContents> <physDesc><p>3 Doppelbl.: S. 1-12 Brieftext; S. 12 Adresse, Siegel. – Der Brief ist vollständig in lateinischen Buchstaben geschrieben.</p><handDesc hands="1"><p>William Horsley </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="1834-07-17" xml:id="date_3e1cf769-79b2-454a-9905-8a7452829f19">17. Juli 1834</date> </creation> <correspDesc> <correspAction type="sent"> <persName key="PSN0112109" resp="author" xml:id="persName_060ea569-ca54-43e5-989d-ca0cf3a75192">Horsley, William (1774-1858)</persName><note>counter-reset</note><persName key="PSN0112109" resp="writer">Horsley, William (1774–1858)</persName> <placeName type="writing_place" xml:id="placeName_45bf52f8-b1ee-435f-a85f-3b762d325777"> <settlement key="STM0100184">Kensington</settlement> <country>Großbritannien</country> </placeName> </correspAction> <correspAction type="received"> <persName key="PSN0000001" resp="receiver" xml:id="persName_79fa2f05-a444-46d4-bd5f-3b8240d5beca">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</persName> <placeName type="receiving_place" xml:id="placeName_45ae47d5-e6ed-439a-83b7-a0176f36e889"> <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" xml:id="div_5914a4e5-150f-43e2-bfa3-82d1f75bd3be"> <head> <address> <addrLine><hi rend="latintype">Felix <hi n="1" rend="underline">Mendelssohn Bartholdy</hi> Esq<hi rend="superscript">re</hi></hi></addrLine><addrLine><hi rend="latintype">W<hi rend="superscript">m</hi> Horsley</hi></addrLine> </address> </head> </div> <div n="1" type="act_of_writing" xml:id="div_a1ef05c9-42e0-4407-a67a-11a6933940a5"> <docAuthor key="PSN0112109" resp="author" style="hidden" xml:id="docAuthor_a6416834-71c0-42ca-b1c4-7ffb6feb9862">Horsley, William (1774–1858)</docAuthor> <docAuthor key="PSN0112109" resp="writer" style="hidden" xml:id="docAuthor_4ba03893-9a79-4f7f-bd3b-4d1e844e98cb">Horsley, William (1774–1858)</docAuthor> <dateline rend="right">Kensington Gravel Pits <date cert="high" when="1834-07-17" xml:id="date_1a60e004-822f-420b-96f8-76ad13c42dab">17/7 – 34</date></dateline> <salute rend="left">My Dear Mendelssohn</salute> <p style="paragraph_without_indent">When I think how long it is, since your kind and <title xml:id="title_6ba6677e-a5ec-40b4-a787-a7a32adaa3f4">interesting <name key="PSN0000001" style="hidden" type="author">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</name> <name key="fmb-1834-04-03-01" style="hidden" type="letter">Felix Mendelssohn Bartholdy an William Horsley in London; Düsseldorf, 3. April 1834</name> </title> <title xml:id="title_7539022e-0db1-4d7f-a644-b308a09e041d">letters <name key="PSN0000001" style="hidden" type="author">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</name> <name key="fmb-1834-04-03-02" style="hidden" type="letter">Felix Mendelssohn Bartholdy an Elizabeth Horsley in London; Düsseldorf, 3. April 1834</name> </title> were received here, I feel pain. Yet my apology, for so long delaying to write to you, may be comprised in a single word – “occupation”. That is the word, and I will not waste your time by adding another to it; feeling assured, you are convinced that I can not have a greater pleasure than that of corresponding with you.</p> <p>We are all rejoiced to find, that you are so comfortably placed at Dusseldorf, and that your numerous avocations agree so well with your taste and inclinations. The present, I consider to be a very important period of your life: God grant that the result may exceed even the wishes which we never cease to form for you. You have business on your hands to relieve the occasional tedium of Study; still you have leisure enough to plan, and to execute, great works. How different is your state from that of the Musician in England! If he venture to woo the Muse, it must be by fits and starts, and, sometimes, after long <choice resp="editor" source="autograph_edition_template" xml:id="choice_b5892249-24ec-4290-8db7-c63a66310e99"> <sic resp="writer">intevalls</sic> <corr resp="editor">intervalls</corr> </choice> – as Sailors woo their mistresses – and, from the very irregular nature of the courtship, it often happens that nothing comes of it.</p> <p>You will not, therefore, be surprised to hear, that I experienced no small difficulty in the composition of <title xml:id="title_ac990022-fc8c-4910-8883-00d92d8c0716">my two last Motetts<name key="PSN0112109" style="hidden" type="author">Horsley, William (1774–1858)</name><name key="CRT0109372" style="hidden" type="music">Exaltabo te, Deus</name><name key="PSN0112109" style="hidden" type="author">Horsley, William (1774–1858)</name><name key="CRT0109375" style="hidden" type="music">O God the King of Glory</name></title> – indeed, till the Xtmas<note resp="FMBC" style="hidden" type="word_description" xml:id="note_7e4ad71e-43bc-4896-868a-96a09f578f88" xml:lang="en">Xtmas – engl., Christmas.</note> holidays commenced, continued application on my part was quite out of the question: the care never can be different with me, unless by some interposition almost miraculous. I need not till anyone, of your observing and reflecting mind, how unfavourable such a state is, to<seg type="pagebreak"> |3|<pb n="3" type="pagebreak"></pb></seg> invention, and the production of works of consequence. I have heard much of the divine impulses of genius, and of its marvellous, and almost instantaneous productions, but I have believed very little. On the contrary, I am of opinion that excellence can only be obtained by repeated, and continued efforts: – how it is in the affairs of <hi n="1" rend="underline">continuation</hi>, that I so often find myself at a loss. No matter! By hook or by crook<note resp="FMBC" style="hidden" type="word_description" xml:id="note_1e210f2c-c73a-4e9d-a600-231802b0162d" xml:lang="en">by hook or by crook – engl., auf Biegen und Brechen.</note> – as we say in England – my Motetts were finished; and with this letter, through the kindness of Mr <persName xml:id="persName_31127a55-b589-4140-b4c5-eac7845ce571">Benecke<name key="PSN0109825" style="hidden" type="person">Benecke, Friedrich Wilhelm (1802-1865)</name></persName>, I trust you will receive one of them.<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_ca018f09-17cd-4497-a644-7aeda9ea8810" xml:lang="en">you will receive one of them – Es ist kein Brief an Felix Mendelssohn Bartholdy von Friedrich Wilhelm Benecke aus dem Jahr 1834 überliefert.</note> My faithful Scribe<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_f1dface4-0de6-49df-9fd1-d2e8e497fb73" xml:lang="en">My faithful Scribe – Elizabeth Horsley fertigte für Mendelssohn die Kopie der Motette an.</note> is now hard at work, and does not intend to employ herself on any thing else till the copy is finished.</p> <p>It fortunately happens, that german words will go very well to my Music; and <persName xml:id="persName_1f027532-94a0-4e6b-89a9-09bcf29465f9">Klingemann<name key="PSN0112434" style="hidden" type="person">Klingemann, Ernst Georg Carl Christoph Konrad (1798-1862)</name></persName> has engaged to put one line in your language, that you may have as little trouble as possible, should you do me the honour of a performance. If you sit at the Piano, the <title xml:id="title_c60e7a9d-3bd2-4ffa-a6b3-7c514b85862c">Motett<name key="PSN0112109" style="hidden" type="author">Horsley, William (1774–1858)</name><name key="CRT0109375" style="hidden" type="music">O God the King of Glory</name></title> will go admirably with your accompaniment only: when you see the Score you will be able to decide whether your <placeName xml:id="placeName_5fb29d9a-b2d2-4d6d-b3fe-dd871e2101bc">Orchestra<name key="NST0100426" style="hidden" subtype="" type="institution">Instrumentalverein</name><settlement key="STM0100109" style="hidden" type="locality">Düsseldorf</settlement><country style="hidden">Deutschland</country></placeName> will enable you to perform it in full. From your account, I think your Orchestra would be much more than equal to it. The other <title xml:id="title_f613ac76-e72a-428e-8b12-c8c149486ed4">Motett<name key="PSN0112109" style="hidden" type="author">Horsley, William (1774–1858)</name><name key="CRT0109372" style="hidden" type="music">Exaltabo te, Deus</name></title> – that which was performed at the <placeName xml:id="placeName_6198146c-4dc8-49ab-b7c4-cb3fdf7363d7">Philharmonic Concert<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="single_place_comment" xml:id="note_d30e1df1-821d-4df9-824d-a169dedaf05b" xml:lang="de ">The other Motett … which was performed at the Philharmonic Concert – Die Motette Exaltabo te, Deus wurde am 7. April 1834 im dritten Konzert der Londoner Philharmonic Society zum ersten Mal aufgeführt (Foster, Philharmonic Society, S. 126).</note> – you shall receive in due time; but it is nearly as long again as that which I now send, and the copying of it will be serious business. It is to latin words “Exaltabo te Deus meus Rex &amp;c”, and is in six parts – two Cantos, Alto, Tenor, &amp; two Basses – with full accompaniments of course. It is not necessary for me to enter here into any further description; but I may add, that it was<seg type="pagebreak"> |3|<pb n="3" type="pagebreak"></pb></seg> succesfull, at the Philharmonic, beyond my expectations. Pray believe that I shall be delighted to send these compositions to you, and that there was no occasion to accompany your request for them with so many assurances of their being safely kept. By the terms of their contract with us – terms which you must remember – the “Exaltabo” is the property of the Society for two years; with the other I may do as I please. It was written with a view to the <placeName xml:id="placeName_68f23571-b996-4abf-9253-e24dcf5b4615">Birmingham Festival<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 the good folks of Birmingham have enough on their hands, in <title xml:id="title_1d26a696-d415-4b3e-b5f6-64d1ab1573c9">Neukomm’s new Oratorio<name key="PSN0113580" style="hidden" type="author">Neukomm, Sigismund (seit 1815) Ritter von (1778–1858)</name><name key="CRT0110200" style="hidden" type="music">David NV 424</name></title>, and my Motett (chiefly I must say in accordance with my own wish) stands over to a “more convenient season.” The subject of our friend’s work is David. His visit to the Camp of Israel; his combat with Goliah; his victory and triumph form the first act. In the second, we have the jealousy and despair of Saul – his battle with the Philistines – his death – David’s call to the Throne and the rejoicing consequent on that event. There was a rehearsal of the Oratorio, on <date cert="high" when="1834-07-12" xml:id="date_e6cdce7d-03bf-45f4-9e91-c64cdfc0ba4a">Saturday last</date>, at the <placeName xml:id="placeName_3c6e0b5c-fb27-4388-84a4-15479552f419">Hanover Square Rooms<name key="NST0102800" style="hidden" subtype="" type="institution">Hanover Square Rooms</name><settlement key="STM0100126" style="hidden" type="locality">London</settlement><country style="hidden">Großbritannien</country></placeName>. The Orchestra was complete, though not numerous; but the Chorus was miserably thin and ineffective, <persName xml:id="persName_ee4907f9-4085-4078-86ef-13b7f9284425">Machin<name key="PSN0113024" style="hidden" type="person">Machin, William (1798-1870)</name></persName>, who sings the part of Goliah, and <persName xml:id="persName_c7e99897-b8da-4231-866d-998b5f5c3da0">Phillips<name key="PSN0113864" style="hidden" type="person">Phillips (Phillipps), Henry (1801-1876)</name></persName>, who sings the part of Saul, were also absent, and <persName xml:id="persName_5c412d08-aa85-4b85-a7a8-f90b7310d09e">Edward Taylor<name key="PSN0115268" style="hidden" type="person">Taylor, Edward (1784-1863)</name></persName> sang for both; it fortunately happening that the Giant is slain before the thing is heard. Under each circumstances, you may easily suppose, the Oratorio was very imperfectly performed. Still we had something like a general impression of it, and I am sorry to say, that impression was not altogether in its favour. There are some fine parts, but they are seperated by others which I fear will not add to our friend’s high reputation.<seg type="pagebreak"> |4|<pb n="4" type="pagebreak"></pb></seg> He seems to have considered his Audience, time, place, and circumstance, with great accuracy, and knowledge of mankind, and I think his composition will quite transport the Provincials. But, for <hi n="1" rend="underline">us</hi>, he has left much to desire. I would have more elevation of Style – more conformity of Style – a more careful adjustment of the several parts – less of the Orchestra, and more of the voices. Above all, I would have much less of the brass instruments, which recur so often as to become painful. <persName xml:id="persName_8c28d41f-1d04-4159-88f1-cfd580054d9f">Harper<name key="PSN0111708" style="hidden" type="person">Harper, Thomas (1786-1853)</name></persName> – your favourite Harper – had no sinecure<note resp="FMBC" style="hidden" type="word_description" xml:id="note_f1d36085-d749-4726-9cce-ab1739dd323d" xml:lang="en">sinecure – engl., Ruheposten, müheloses, einträgliches Amt; von lat. sine cura animarum, »ohne Sorge für die Seelen«.</note> on <date cert="high" when="1834-07-12" xml:id="date_722e43c2-2b0c-4907-a04c-b3f10684fc82">Saturday</date> morning: he was perpetually shifting his mouth pieces, for <persName xml:id="persName_e25be494-a124-4367-945c-693b1e1d14eb">Neukomm<name key="PSN0113580" style="hidden" type="person">Neukomm, Sigismund (seit 1815) Ritter von (1778-1858)</name></persName> has employed the Trumpet in all sorts of passages, and in all sorts of scales. He passed some hours with me on <date cert="high" when="1834-07-14" xml:id="date_6e0da368-a3f4-4f2a-b813-87a976e4123a">Monday</date>, and, in the course of our conversation, I ventured to hint that I thought he had been a little too “strepitoso”.<note resp="FMBC" style="hidden" type="word_description" xml:id="note_6e219e14-14cd-49a2-a56d-acd90391d163" xml:lang="it ">strepitoso – ital., geräuschvoll, lärmend.</note> “Your <title xml:id="title_11f7c911-3766-4854-bdce-3bfb7074c5dc">Oratorio<list style="hidden" type="fmb_works_directory" xml:id="title_sc8c7ur5-o4zf-4qny-2fpp-ctnsjoz28siq"> <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="PRC0100114" style="hidden">Paulus / St. Paul, Oratorium nach Worten der Heiligen Schrift für Solostimmen, gemischten Chor, Orchester und Orgel, [1832] bis 18. April 1836<idno type="MWV">A 14</idno><idno type="op">36</idno></name></title>”, said I, “is written for the Men of Birmingham, and, as they are such great workers in metal, I suppose you thought you could not give them too much brass.” You know how truly amiable <persName xml:id="persName_b0fd4353-c452-4e88-8370-19e5cadfbe3c">N<name key="PSN0113580" style="hidden" type="person">Neukomm, Sigismund (seit 1815) Ritter von (1778-1858)</name></persName> is. He smiled – acknowledged “I might be right” – but pleaded the custom of the present day, and his own fondness for a “brass band”. “My dear friend” – said I – “a brass band often delights me; but you know we may have too much of the best things.” He bowed assent; and so our discussion on that subject ended, as such discussions usually end; that is by each party retaining his own opinion. Remember, my Dear Mendelssohn, that all I have written, on this subject, is written in the strictest confiedence. You must consider my opinions as crude &amp; hasty; for they are formed on a single hearing, and<seg type="pagebreak"> |5|<pb n="5" type="pagebreak"></pb></seg> you know, as well as any man, how imperfect a judgement we may form from it. Compare what I have said, with all you may hear from <persName xml:id="persName_50ba4a5b-9e1c-4eb6-a6b0-374c32d4c3c0">Klingemann<name key="PSN0112434" style="hidden" type="person">Klingemann, Ernst Georg Carl Christoph Konrad (1798-1862)</name></persName>, and the <persName xml:id="persName_e4519e0b-812d-48d8-baf6-2f67599286de">Moschless<name key="PSN0113434" style="hidden" type="person">Moscheles, Familie von → Ignaz M.</name></persName>, and form no opinion from my representation alone.</p> <p>By this time, with all your patience and endurance of “Slipslop”<note resp="FMBC" style="hidden" type="word_description" xml:id="note_dc6e2e4b-35d0-4e45-a99d-f0e0a7817cc0" xml:lang="en">Slipslop – engl., Gewäsch, leerees Gerede oder Geschreibe.</note> correspondence, you must have had enough of me; but I am determined to repay your last letter, “with usury”, and, therefore, I proceed to give you some account of our late “<placeName xml:id="placeName_c63e3888-c488-4e09-94de-74d78045590b">Royal Festival<name key="NST0100308" style="hidden" subtype="" type="institution">Royal Musical Festival (1834)</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_4588e8eb-c470-47d3-8f95-b999d366aa5a" xml:lang="en">our late “Royal Festival” – Das Royal Music Festival fand 1834 in der Westminster Abbey statt. </note> – though at the risk of repeating many things with which you are already acquainted. </p> <p>The notion of this great Metropolitan meeting originated with our friend Sir <persName xml:id="persName_e3b568a2-01a3-457f-ac17-2e3808b0f1d6">George Smart<name key="PSN0114944" style="hidden" type="person">Smart, Sir George Thomas (1776-1867)</name></persName>. It is true, that, after his plan was made public, A B C D – and so on half way down the Alphabet came forward, and declared, on their honour and conscience, that they had been long labouring with a similar design. But, as it always happens that no such intention is ever announced without many counter pretensions being set up, little notice was taken of these worthies, and Sir George secured to himself the Patronage of their <persName xml:id="persName_b39711be-fe27-40b5-afff-9843faf6b8ae">Majesties<name key="PSN0111578" style="hidden" type="person">Großbritannien, Irland und Hannover, Wilhelm IV. Heinrich von (1765-1837)</name></persName>, and of all our Principal Nobility who take any interest in such musical performances as those which he proposed to be held in the <placeName xml:id="placeName_eb8709ab-5c78-4b33-8717-8c014fb77bf7">Abbey<name key="SGH0100434" style="hidden" subtype="" type="sight">Westminster Abbey</name><settlement key="STM0100126" style="hidden" type="locality">London</settlement><country style="hidden">Großbritannien</country></placeName>. <persName xml:id="persName_1c28ff27-df7b-42b2-9ae8-57db5aec4da8">Knyvett<name key="PSN0118986" style="hidden" type="person">Knyvett, William (1779-1856)</name></persName>,<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_59521cee-91ab-4865-ae78-e6c36d14a024" xml:lang="en">Knyvett … Conductor of the “Ancient Music” gave – William Knyvett leitete 1832 bis 1840 die Concerts of Ancient Music.</note> I believe, in his capacity of Conductor of the “Ancient Music” gave him the most trouble. But our friend Smart is a good general. He surveys his ground well, before he sets his battle in array, &amp; then does not venture to fight, without being well assured of the power, and good disposition, of his allies. To drop metaphor, he overcame all obstacles, and was appointed solo Conductor – a situation to which, without doubt, he had aspired from the beginning. All the other leading departments in the Orchestra<seg type="pagebreak"> |6|<pb n="6" type="pagebreak"></pb></seg> were divided, and <persName xml:id="persName_22173185-eac8-4c0c-8efd-280914a1401c">Cramer<name key="PSN0110487" style="hidden" type="person">Cramer, Johann (John) Baptist (1771-1858)</name></persName>, <persName xml:id="persName_ec457980-96fa-4c34-b2c7-ca68051044ca">Spagnuoletti<name key="PSN0115001" style="hidden" type="person">Spagnoletti, Paolo (1773-1834)</name></persName>, <persName xml:id="persName_e5efd4e9-9dce-48a3-ae6f-3516110e5b2d">Weichsel<name key="PSN0118583" style="hidden" type="person">Weichsel (Weichsell), Carl (Charles) (1767-1850)</name></persName>, <persName xml:id="persName_ff35fb4a-88e0-4f44-b2f1-0aaaded97af1">Mori<name key="PSN0113424" style="hidden" type="person">Mori, Nicolas (1796-1839)</name></persName> &amp; &amp; figured in turn, with eight different Organists, good bad &amp; indifferent. This division of the labour, and of the honour, was well intended; but I doubt much, whether the general performance was benefitted by it, and sorry I am to tell you, that it did not prevent grumbling. If you wish to be informed of my employment on this interesting occasion, know that I was one of the band of “gentlemen ushers” whose business it was to see that the company was properly seated; especially those who had tickets for the reserved places – these reserved seats in the Abbey were on the plan of the Stalls at the Opera House. Among the ushers were John Cramer, <persName xml:id="persName_d01da89d-22c6-464c-ad6f-2a91972035cb">Neate<name key="PSN0113559" style="hidden" type="person">Neate, Charles (1784-1877)</name></persName> (who arrived from <placeName xml:id="placeName_5228f52d-3df4-445e-a9cd-25d477c4e9f7">Munich<settlement key="STM0100169" style="hidden" type="locality">München</settlement><country style="hidden">Deutschland</country></placeName> about six weeks before the Festival) <persName xml:id="persName_bc635f1b-41f4-4fc6-85b4-ff39f26c0b39">Griffin<name key="PSN0116880" style="hidden" type="person">Griffin, George Eugene (1781-1863)</name></persName> and many more whom you know, and I am proud to tell you, that we “covered ourselves with glory”. From Mr Mrs &amp; the Misses Hopkins, Tomkins, and Simpkins,<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_5b7fcaf3-ba64-4d35-832d-76425fbfda19" xml:lang="en">Mr Mrs &amp; the Misses Hopkins, Tomkins, and Simpkins – scherzhafte Aufzählung.</note> up to the Duke of this, and the Duchess of that – may even to Royalty itself – all were loud in our praise. Henceforth, therefore, looking on ourselves as being quite perfect in all matters polite, we shall repose under our laurels – take no more dancing lessons, and throw away all our copies of <title xml:id="title_8c9b6481-b827-45b1-8675-4c8aafdcb1b6">Lord Chesterfield’s letters<name key="PSN0119067" style="hidden" type="author">Stanhope, Philip Dormer 4th Earl of Chesterfield (1694–1773)</name><name key="CRT0111689" style="hidden" type="literature">Letters to his son, 1737-1768</name></title>.</p> <p>There were four public rehearsals, and four performances, corresponding with them, to which the Public was admitted.</p> <p>The first day began with the <title xml:id="title_1e3358c5-8447-4364-a5ae-c079f2ba5349">Coronation Anthem “Zadoc the Priest”<name key="PSN0111693" style="hidden" type="author">Händel, Georg Friedrich (1685–1759)</name><name key="CRT0108969" style="hidden" type="music">Zadok the priest HWV 258</name></title>, after which the Creation and a miscellaneous act were performed. The second day’s performance consisted of the <title xml:id="title_0cb2ca5d-e6b3-4845-9123-21f536aea080">Coronation Anthem „The King shall rejoice<name key="PSN0111693" style="hidden" type="author">Händel, Georg Friedrich (1685–1759)</name><name key="CRT0108971" style="hidden" type="music">The king shall rejoice HWV 260</name></title> (a very superior composition to the preceding) a miscellaneous act, and the greater part<seg type="pagebreak"> |7|<pb n="7" type="pagebreak"></pb></seg> of <title xml:id="title_aca4bc92-4692-4043-b653-0a39eedca108">Israel in Egypt<name key="PSN0111693" style="hidden" type="author">Händel, Georg Friedrich (1685–1759)</name><name key="CRT0108989" style="hidden" type="music">Israel in Egypt HWV 54</name></title> – this was <add place="above">the<name key="PSN0112109" resp="writers_hand" style="hidden">Horsley, William (1774–1858)</name></add> triumph of the Festival. A selection from <title xml:id="title_5381e9a7-61a4-4634-97e9-231fbfe6b36d">Judas Maccabeus<name key="PSN0111693" style="hidden" type="author">Händel, Georg Friedrich (1685–1759)</name><name key="CRT0108993" style="hidden" type="music">Judas Maccabaeus HWV 63</name></title> constituted the chief business on the third day, which ca <gap quantity="4" reason="deletion" unit="words"></gap> <add place="above">on the whole<name key="PSN0112109" resp="writers_hand" style="hidden">Horsley, William (1774–1858)</name></add> was uninteresting, and the <title xml:id="title_92d05d93-e240-4b75-aa6b-8034b986b743">Messiah<name key="PSN0111693" style="hidden" type="author">Händel, Georg Friedrich (1685–1759)</name><name key="CRT0108996" style="hidden" type="music">Messiah HWV 56</name></title> occupied the fourth. The Orchestra, vocal &amp; instrumental, consisted of about six hundred and thirty performers, who (with the exception of some of the <hi n="1" rend="underline">principals</hi>) appear to have been chosen with considerable care. From such numbers, the most astonishing effects were anticipated. Many timid persons declared, that the Church would be shaken to pieces – others, with a little more nerve, thought that only the roof would be blown off. Never did any mountain in labour bring forth a smaller mouse! The fact, when contrasted with the predictions, became quite ridiculous; this was owing to two causes. In the first places the Church was filted up by persons who had no knowledge of musical effects, nor of these circumstances which aid or which injure them. In the second place (and this is the material point) the building is not favourable for such performances; consequently some portion of the Audience heard the Chorus without the Band – others heard the Band without the Chorus: a few, only, heard the effect of the whole. There were forty violins on a side, notwithstanding which, I can assure you, that, in my place, the Orchestra never <gap quantity="1" reason="deletion" unit="words"></gap> <add place="above">was<name key="PSN0112109" resp="writers_hand" style="hidden">Horsley, William (1774–1858)</name></add> so powerful as it often is at the <placeName xml:id="placeName_29704cf5-2a60-4266-b8a4-209f7a6e81f1">Philharmonic 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>. In spight of these partial drawbacks, the whole performance gave the highest satisfaction, and hundreds were disappointed, who applied for tickets when it was too late.<seg type="pagebreak"> |8|<pb n="8" type="pagebreak"></pb></seg> Sir <persName xml:id="persName_b80e0bcd-eb91-46c1-b4f6-91b04005e49e">George<name key="PSN0114944" style="hidden" type="person">Smart, Sir George Thomas (1776-1867)</name></persName> managed his part of the business with much ability, and a subscription has been raised for the purchase of a piece of plate, which is to be presented to him as a token of the regard which is felt for him by his professional bretheren. I ought to inform you, that the Subscription was confined to the Orchestra, and the ever memorable band of “gentlemen ushers”. These is talk of a dinner, at which the presentation is to be made: with us, as you are well aware, nothing can be done without a dinner.</p> <p>Though my subject sinks much in importance, I must not omit to inform you, that a Society has lately been established here called the “<placeName xml:id="placeName_b2a30908-e4e1-4bfe-b8f4-404c649d4a30">Society of British Musicians<name key="NST0103770" style="hidden" subtype="" type="institution">The Society of British Musicians</name><settlement key="STM0100126" style="hidden" type="locality">London</settlement><country style="hidden">Großbritannien</country></placeName>”: its objects are the composition &amp; performance of Music by natives of the British empire only. Some years ago the <placeName xml:id="placeName_a0158db6-d3e5-4e0d-80c8-0bda4f6b1d66">Concentores Society<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_e2a8128b-9f41-4f4d-a1dd-cc7d3101280f" xml:lang="en">Concentores Society – 1798 als Cocentores Sodales gegründet, ein glee-Club, Horsley war Mitgründer.</note> at my suggestion, proposed something of the same kind, though on a much smaller scale. We gave one series of Concerts, under great disadvantages; but the experience of that season convinced me that such an undertaking might, by proper management, be made to prosper. But I failed in my endeavours to rouse my professional friends to the necessary exertion, and the whole dropped dead. What will be atchieved by the present Society remains to be seen: they cannot fail, however, for lack of members. There are already three hundred members, and more than fifty other persons are seeking for admission. At present, the administeration of affairs is in the hands of professors who are not much known<seg type="pagebreak"> |9|<pb n="9" type="pagebreak"></pb></seg> and possess very little influence: should the Society prosper it is probable that the reins may be assumed by those who are more capable of managing them. It is intended to give Six concerts, between the months of October and January, the subscription for which will be only one guinea! When the season at year, at which the Concerts are to be given, and the terms of the subscription are considered, we may expect that if our audience be “liberal” it will not be very “enlightened”. N’importe! – there is stuff enough among the members to make out a very good Orchestra – which is the thing most wanted among us.</p> <p>I am anxious to hear something of <title xml:id="title_f71d6213-477f-4151-8367-f79617f14d6f">your Oratorio<list style="hidden" type="fmb_works_directory" xml:id="title_uu5djt9t-xdxp-fw82-v0ts-slehciutw4s5"> <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="PRC0100114" style="hidden">Paulus / St. Paul, Oratorium nach Worten der Heiligen Schrift für Solostimmen, gemischten Chor, Orchester und Orgel, [1832] bis 18. April 1836<idno type="MWV">A 14</idno><idno type="op">36</idno></name></title>: by this time it may be finished. Pray – my Dear Friend – be merciful in the use of the brass instruments. I am at all times ready to surrender my ears, on reasonable conditions; but a cannonade or any disposition to attempt a storm, puts me in a fury, and impels me to the most desperate resistance. This reminds me to say, that these was for too much <hi n="1" rend="underline">trombonizing</hi> of Handel at the late Festival. You know I do not like <title xml:id="title_eed4024d-8738-4ac7-a1c9-27c0d587dcba">Mozart’s accompaniments to the Messiah<name key="PSN0113466" style="hidden" type="author">Mozart, Wolfgang Amadeus (1756–1791)</name><name key="CRT0110119" style="hidden" type="music">Der Messias KV 572 (Bearbeitung von → Georg Friedrich Händels Messiah HWV 56)</name></title> – I wish he had never written them – judge them how I felt, when I heard the “Master” <hi n="2" rend="underline">improved</hi>, by trumpets here, and trombones there, according to the superior taste and<seg type="pagebreak"> |10|<pb n="10" type="pagebreak"></pb></seg> profound knowledge of X Y &amp; Z – Bah! It is almost unnecessary to tell you, that the compositions of Handel put all others in the back ground: he was indeed the “Giant <persName xml:id="persName_d904f7b4-ee97-4111-9c84-7f216392f9bf">Handel<name key="PSN0111693" style="hidden" type="person">Händel, Georg Friedrich (1685-1759)</name></persName>” as <persName xml:id="persName_a72935fa-9f98-40ea-ae2d-e2c0c10d7961">Pope<name key="PSN0119715" style="hidden" type="person">Pope, Alexander (1688-1744)</name></persName> calls him.<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_a1a1070b-4267-4a4f-8b10-48b5ff040f3b" xml:lang="en">the “Giant Handel” as Pope calls him – vgl. The Complete Poetical Works of Alexander Pope. With an Original Memoir of the author, Boston und New York 1879: The Dunciad, Book IV, S. 340, Z. 69.</note> Now what is the cause of this superiority? I think it may be told in a few words: <hi n="1" rend="underline">When Handel writes for voices, he depends on voices for his effects, and not on the Orchestra</hi>. When, therefore, we listen to his great works, our minds are not distracted by conflicting powers – the Band assists the voices, it does not govern them – and he strikes, to use Mozart’s admirable expression, with a “thunder clap”, because he strikes with undivided force.</p> <p>But I must really think of concluding. For some hours I have been labouring – much I fear to <gap quantity="1" reason="deletion" unit="words"></gap> the loss of your precious time – under a furor scribendi.<note resp="FMBC" style="hidden" type="translation" xml:id="note_69a6e413-0c69-4d6e-99e4-2c1288512a7b" xml:lang="la ">furor scribendi – lat., Schreibwut.</note> I have treated you as a Pastry Cook treats a new couver, when he gives him a good cramming, that he may want no more for a months. <gap quantity="1" reason="deletion" unit="words"></gap> Thus, if you consider <add place="above">the<name key="PSN0112109" resp="writers_hand" style="hidden">Horsley, William (1774–1858)</name></add> length of this letter, and its <hi n="1" rend="underline">weight</hi>, you must admit it to be a dose which will serve you till Xtmas. A few words relative to our home department must suffice. God be praised we are all well, and are all assembled here, at headquarters, with the exception of <persName xml:id="persName_df9991bc-1217-4b2e-81a3-9a99123d190d">Mary<name key="PSN0112107" style="hidden" type="person">Horsley, Mary Elizabeth (1813-1881)</name></persName>. She is gone to Dulwich on a visit to <persName xml:id="persName_90013851-a165-4b01-9e4a-c8db374d16e8">Mr and Mrs Hawes<name key="PSN0111783" style="hidden" type="person">Hawes, Sir Benjamin (1797-1862)</name><name key="PSN0111785" style="hidden" type="person">Hawes, Sophia Macnamara (1802-1878)</name></persName>:<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_3e26f9af-00ce-4f81-9203-df5e5b2b1654" xml:lang="en">Mr and Mrs Hawes – Benjamin und Sophia Macnamara Hawes besaßen ein Haus in Dulwich. </note> they have taken a house there for the summer.<seg type="pagebreak"> |12|<pb n="12" type="pagebreak"></pb></seg> <persName xml:id="persName_df5b31c1-5636-4793-8cc4-d2f31ddf3e7c">Sophy<name key="PSN0112108" style="hidden" type="person">Horsley, Sophia Hutchins (Sophy) (1819-1894)</name></persName> is now busy with your new <title xml:id="title_993d431e-8b52-47e9-b214-2bacf5889997">Fantasia in F # Minor<list style="hidden" type="fmb_works_directory" xml:id="title_auerqrbe-7tb6-tx1a-daby-lm02yxhcmwev"> <item n="1" sortKey="musical_works" style="hidden"></item> <item n="2" sortKey="instrumental_music" style="hidden"></item> <item n="3" sortKey="piano_music" style="hidden"></item> <item n="4" sortKey="works_for_piano_two_hands" style="hidden"></item></list><name key="PSN0000001" style="hidden" type="author">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</name><name key="PRC0100440" style="hidden">Fantasie (Sonate écossaise) fis-Moll, 29. Januar 1833<idno type="MWV">U 92</idno><idno type="op">28</idno></name></title>. <persName xml:id="persName_be2578a9-898d-4720-bd2a-f53e4ad7cd12">John<name key="PSN0112106" style="hidden" type="person">Horsley, John Callcott (1817-1903)</name></persName> is painting away, and, I trust, is making progress in his art – <persName xml:id="persName_b630fb3a-eb3e-490a-ae2e-da2086ea8cfb">Charles<name key="PSN0112102" style="hidden" type="person">Horsley, Charles Edward (1822-1876)</name></persName> has not yet left school, and can only give a little of his time to music; but, at the commencement of next year, he must go to work seriously. <persName xml:id="persName_5c17efdd-2498-440f-b1a7-90277c013e91">Fanny<name key="PSN0112105" style="hidden" type="person">Horsley, Frances Arabella (Fanny) → Thompson (1815-1849)</name></persName> is quite hearty: she has excercised herself much in gardening lately, and has greatly benefitted by it. My dearest <persName xml:id="persName_0eef90d9-ebcb-48de-872b-bb3b62e21763">wife<name key="PSN0112103" style="hidden" type="person">Horsley, Elizabeth Hutchins (1793-1875)</name></persName> is remarkably well, and is frequently complimented by her good looks. For myself – baking a few minor miseries. I am as tolerable as an elderly gentleman can expect to be. Thus I have gone through my list; but I must not forget to tell you that last week my sister-in-law <persName xml:id="persName_2df1d4d4-44c2-4b1c-9d54-e19757076ee3">Caroline Callcott<name key="PSN0110248" style="hidden" type="person">Callcott, Caroline Hutchins (1802-1864)</name></persName> was married to <persName xml:id="persName_24eaea70-4ae2-4f45-81a4-c64d41e41e36">Jolly<name key="PSN0117193" style="hidden" type="person">Jolly, John (1794-1838)</name></persName>,<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_8f821b89-a832-472e-bc40-975b59233c38" xml:lang="en">my sister-in-law Caroline Callcott was married to Jolly – Caroline Hutchins Callcott hatte am 9. Juli 1834 John Jolly geheiratet.</note> a worthy brother Professor, with whom I believe you have some acquaintance. They are now in the Isle of Wight, at a beautiful place belonging to <persName xml:id="persName_40576e3a-1e38-4959-bb21-9d357aab6ada">Cartwright<name key="PSN0110294" style="hidden" type="person">Cartwright, Samuel (1789-1864)</name></persName>, and no two human beings ever had a fairer prospect of happiness. We had a grand merry making here, on the evening of the Marriage. The next evening we passed at the <persName xml:id="persName_ad58f924-d199-4653-a45e-695e6f12dda7">Moscheless<name key="PSN0113434" style="hidden" type="person">Moscheles, Familie von → Ignaz M.</name></persName>, and all my family went to bed so much tired, that on the following morning, our opposite neighbours were alarmed at observing our house continue to be so long shut up. I trust you continue receive good accounts from Berlin: pray, when you write, remember me most kindly to your good <persName xml:id="persName_92cf3371-92d5-4b63-855c-cc02bfd97b19">Father<name key="PSN0113247" style="hidden" type="person">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Abraham Ernst (bis 1822: Abraham Moses) (1776-1835)</name></persName>. All here send their kindest regards, and I remain, my Dear Mendelssohn,</p> <closer rend="center">most faithfully yours</closer> <signed rend="right">W<hi rend="superscript">m</hi>Horsley</signed> </div> <div n="2" type="act_of_writing" xml:id="div_c860a615-8de4-40ff-8453-38990bf65ce4"> <docAuthor key="PSN0112109" resp="author" style="hidden" xml:id="docAuthor_31c22c44-9032-42c2-9114-e17da3580554">Horsley, William (1774–1858)</docAuthor> <docAuthor key="PSN0112109" resp="writer" style="hidden" xml:id="docAuthor_a56786fa-7f98-40c9-9e45-07cce53d182d">Horsley, William (1774–1858)</docAuthor> <p style="paragraph_without_indent"><seg type="pagebreak"> |12|<pb n="12" type="pagebreak"></pb></seg> P. S. I have lately received my Diploma from <placeName xml:id="placeName_77affa21-140a-4879-a6b4-620a97c3095f">Stockholm<settlement key="STM0100147" style="hidden" type="locality">Stockholm</settlement><country style="hidden">Schweden</country></placeName>, and have now the honour to be a Member of the <placeName xml:id="placeName_b725475c-3905-438e-99c3-deec436f3de1">Royal Academy of Music<name key="NST0104766" style="hidden" subtype="" type="institution">Kungliga Musikaliska Akademien (Königliche Musikalische Akademie)</name><settlement key="STM0100147" style="hidden" type="locality">Stockholm</settlement><country style="hidden">Schweden</country></placeName><note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_9d4ed376-24b3-4fd6-8ca7-eef1a5fde23a" xml:lang="en">my Diploma from Stockholm … Royal Academy of Music – William Horsley war am 21. Dezember 1833 gemeinsam mit Johann Baptist Cramer in die Kungliga Musikaliska Akademien (Königliche Musikalische Akademie) in Stockholm berufen worden. Siehe Gustaf Hilleström, Kungl. Musikaliska Akademien Matrikel 1771-1971, [Stockholm] 1971, S. 170.</note> in that city. I am the first englishman who has received this distinction, and I am much flattered by it. I owe it intirely to the kind offices of my friend <persName xml:id="persName_7a65a0b2-7206-456a-96a7-1263c1c18501">Neukomm<name key="PSN0113580" style="hidden" type="person">Neukomm, Sigismund (seit 1815) Ritter von (1778-1858)</name></persName>; for it was he who recommended me to send a copy of <title xml:id="title_8c8d1cea-5391-4a26-b662-a5a254a9b0e0">my book of Canons<name key="PSN0112109" style="hidden" type="author">Horsley, William (1774–1858)</name><name key="CRT0109369" style="hidden" type="music">A Collection of Canons op. 9</name></title> to <gap quantity="1" reason="uncertain_reading" unit="characters"></gap> Academy. </p> <p>I am preparing a present to Glees for my <hi n="1" rend="underline">brother members</hi>. Glees I may presume will have one recommendation, at least – that of novelty. Apropos. The Copy of my <title xml:id="title_d882f136-5200-49f8-a2fb-2b3bf15a217d">Motett No 3<name key="PSN0112109" style="hidden" type="author">Horsley, William (1774–1858)</name><name key="CRT0109372" style="hidden" type="music">Exaltabo te, Deus</name></title> which you will now receive agrees page for page with that whence it is taken, so that you can readily refer to any part on which you may think proper to make observations. I know you will give me sound criticism, and not more compliments. Addio!</p> <p><seg type="pagebreak">|9|<pb n="9" type="pagebreak"></pb></seg> <note resp="UW" style="hidden" type="text_constitution" xml:id="note_2ad588c9-4f45-44e3-a3b2-31212577a204" xml:lang="en">Ab hier quer über die neunte Seite geschrieben.</note>Pardon me, for not having mentioned “<title xml:id="title_16b0ec59-9520-42f0-a3a1-ef5707b54958">Bach’s Passione<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>” which you had the goodness to send to me,<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_eaca0f87-6c1d-4cdb-a18b-43675dea4a79" xml:lang="en">“Bach’s Passione” which you had the goodness to send to me – Die Partitur-Ausgabe von Bachs Johannes-Passion BWV 245, betitelt »Grosse Passionsmusik nach dem Evangelium Johannis«, war 1831 von Karl Friedrich Ludwig Hellwig im Verlag von Traugott Trautwein in Berlin herausgegeben worden. Mendelssohn hatte Horsley die Noten mit Brief fmb-1833-11-25-01 Felix Mendelssohn Bartholdy an William Horsley in London, Düsseldorf, 25. November 1833, zugesandt.</note> and now accept my best thanks for it. There are twenty other things which I could write about. After all you will receive this long epistle through <persName xml:id="persName_446e377e-27bc-43bb-bd92-7f34a0212913">Klingemann<name key="PSN0112434" style="hidden" type="person">Klingemann, Ernst Georg Carl Christoph Konrad (1798-1862)</name></persName> – so you must wait a short time for the Motett. </p> </div> </body> </text></TEI>