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Maschinenlesbare Übertragung der vollständigen Korrespondenz Felix Mendelssohn Bartholdys (FMB-C)
1 Doppelbl.: S. 1-4 Brieftext; S. 4 Adresse, Siegel. – Der Brief ist vollständig in lateinischen Buchstaben geschrieben.
James Robinson Planché
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.
Monsieur
Monsieur F. Mendelssohn Bartholdy
Leipsig
th1838
After the consideration of several subjects which I had in view for our
d– Its interest is of the most popular kind and the event familiar to every English schoolboy. and it affords the finest scope for contrast of
threeacts – “each act having its own particular effect –” – “Its own poetical point coming to issue in the Finale” – In
designtherefore
preciselywhat you require – The
executionI can only say shall be
mybest, however poor that best may be – Your Genius my dear Sir must be my
secretly) to the other –. The one she does
notprefer
d– and the lovers
& duty service to her father maid duty – and the love she secretly bears the rival suitor – She decides in favour of duty and gratitude – and the at this moment the Governor of Calais declares the conditions on which alone the English monarch will spare the Town – Fourt Pierre – devote themselves – a sixth is wanted – and the surprising rival of the accepted lover presents himself – This brings out the secret of the Maidens preference – and leads to nd Act. The third Act – developes the generous resolution of the accepted lover not to enjoy happiness at the expense of that of his Mistress and friend – The percession of the devoted six to the English camp is to take place at a certain hour – He manages to and to fling themselves at the feet of Edward – and on arriving hear the happy arrive to witness the well-known traditional denouement – The pardon of the whole six at the intercession of Philippa –
What think you of this my dear Sir, as a sketch?
Please to keep the subject a profound secret as there is an old Opera on the same which they would be bringing forward – the story of which howequite different.
20 Brompton Crescent near London
April 5th 1838. My dear Sir,
After the consideration of several subjects which I had in view for our Opera I have fixed upon one as embracing all the points mentioned in your letter, in a fuller degree than any that I have as yet lighted upon. It is the grand historical incident of the siege and surrender of Calais in the time of Edward 3d – Its interest is of the most popular kind and the event familiar to every English schoolboy. and it affords the finest scope for contrast of passions – situations – scenery – picturesque costume – Pageantry &c. in short for all the features of a grand Opera – The noble feeling of the Patriot six devoting themselves for the preservation of their Fellow Townsmen – the chivalric gallantry of Edward and the English Knights – The benevolence of Philippa of Hainault are all in accordance with the wish you express to avoid the darker and baser passions which have lately formed the staple of our Operas, and the story I purpose linking with it will not detract from those qualities –. It will be as you say – “an historical Opera heroic but not tragical at least not with a tragical end” – full of “dangers fears and all sorts of passions” – possessing “many & active Chorusses” – “a whole people” – opposed to the principal Solo singers” – The “celebration of a rathe virtuous heroical deed” – and “the triumph of a noble striking feeling” dividing itself naturally into three acts – “each act having its own particular effect –” – “Its own poetical point coming to issue in the Finale” – In design therefore precisely what you require – The execution I can only say shall be my best, however poor that best may be – Your Genius my dear Sir must be my Agis – and I feel pretty secure with the prospect of such protection. The notion I have at present of a story is as follows. – I suppose one of the principal Burgesses of Calais to have a daughter beloved by two friends – One of which (of course) she prefers: (but secretly) to the other –. The one she does not prefer it is offered by the Father the hand of the Maiden provided he can execute some important mission in England. – The lover has departed for this purpose and during his absence Calais is invested by Edward 3d – and the lovers esteem reinfected. – He arrives at the beginning of the Opera with in disguise and in the train of Queen Philippa, and the first act which lies in the camp of the besiegers or rather the wooden town built by Edward outside the walls will be occupied with his endeavours to pass the lines and his ultimate weapon and passage into the Calais –
In the second act we shall have the interior of the besieged city & with the famishing and despairing inhabitants – contrasted to the splendour and glory of the English camp –. The lover claiming the hand of the maiden as the maid of his service duly performed – and the struggle of the girl between gratitude for that duty service to her father combined with maid duty – and the love she secretly bears the rival suitor – She decides in favour of duty and gratitude – and the at this moment the Governor of Calais declares the conditions on which alone the English monarch will spare the Town – FourFive of the Citizens inspired by the Example of Eustace de St Pierre – devote themselves – a sixth is wanted – and the surprising rival of the accepted lover presents himself – This brings out the secret of the Maidens preference – and leads to the Finale of 2nd Act. The third Act – developes the generous resolution of the accepted lover not to enjoy happiness at the expense of that of his Mistress and friend – The percession of the devoted six to the English camp is to take place at a certain hour – He manages to detain his rival – beyond the appointed time – and departs in his stead – as is supposed to death – The mingled feelings of the astonished pair – will form a splendid subject for a grand duo – Shame at being supposed a coward – gratitude to his friend for his self devotion – anguish at the thought of his death – struggling with the joyful certainty of possessing the maid of his heart &c. – &c – They rush to the English Camp and to fling themselves at the feet of Edward – and on arriving hear the happy arrive to witness the well-known traditional denouement – The pardon of the whole six at the intercession of Philippa –
What think you of this my dear Sir, as a sketch?
Pray answer as soon as possible as I have not too much time to get it finished in and shall begin instanter upon the hope that it will please you – Yours truly
J. R. Planché
Please to keep the subject a profound secret as there is an old Opera on the same which they would be bringing forward – the story of which however is quite different.
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April 1838</title> <incipit>After the consideration of several subjects which I had in view for our Opera I have fixed upon one as embracing all the points mentioned in your letter, a fuller degree than any that I</incipit> </msItem> </msContents> <physDesc> <p>1 Doppelbl.: S. 1-4 Brieftext; S. 4 Adresse, Siegel. – Der Brief ist vollständig in lateinischen Buchstaben geschrieben.</p> <handDesc hands="1"> <p>James Robinson Planché</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="1838-04-05" xml:id="date_b51f98bb-0d00-422d-8b0c-b1449478f127">5. April 1838</date> </creation> <correspDesc> <correspAction type="sent"> <persName key="PSN0113896" resp="author" xml:id="persName_17ef2d73-03f1-4850-88c4-ee8d547bb796">Planché, James Robinson (1796-1880)</persName><note>counter-reset</note><persName key="PSN0113896" resp="writer">Planché, James Robinson (1796–1880)</persName> <placeName type="writing_place" xml:id="placeName_59e463d8-b47f-4f64-b602-2912b9a0d4ca"> <settlement key="STM0100126">London</settlement> <country>Großbritannien</country> </placeName> </correspAction> <correspAction type="received"> <persName key="PSN0000001" resp="receiver" xml:id="persName_17a632b7-798b-4e1c-89eb-0dba3e6420b7">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</persName> <placeName type="receiving_place" xml:id="placeName_fe443870-0090-4334-abb6-eeefb8010f18"> <settlement key="STM0100116">Leipzig</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_238befc2-2fab-4745-8cfb-20b47078875f"> <head> <address> <addrLine><hi rend="latintype">Monsieur</hi></addrLine> <addrLine><hi rend="latintype">Monsieur F. Mendelssohn Bartholdy</hi></addrLine> <addrLine><hi rend="latintype">Leipsig</hi></addrLine> </address> </head> </div> <div type="sender_address"> <p style="paragraph_right"> <address> <addrLine>20 Brompton Crescent</addrLine> <addrLine>near London</addrLine> </address> </p> </div> <div n="1" type="act_of_writing"> <dateline rend="right"><date cert="high" when="1838-04-05">April 5<hi rend="superscript">th</hi> 1838</date>.</dateline> <salute rend="left">My dear Sir,</salute> <p style="paragraph_without_indent">After the consideration of several subjects which I had in view for our <title xml:id="title_7e736e59-47ad-4df1-9f88-9f7d491df187">Opera<list style="hidden" type="fmb_works_directory" xml:id="title_a3wy7bo2-vpt9-rxrw-gcry-un1hrdselj0y"> <item n="1" sortKey="musical_works" style="hidden"></item> <item n="2" sortKey="works_not_executed" style="hidden"></item></list><name key="PSN0000001" style="hidden" type="author">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</name><name key="PRC0100703" style="hidden">The Brothers (auch: Edward III and the Siege of Calais / Eduard III. und die Belagerung von Calais)<idno type="MWV"></idno><idno type="op"></idno></name></title><note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_64450978-1f4e-401b-b335-b989f7118a33" xml:lang="en">our Opera – William Chappell hatte Felix Mendelssohn Bartholdy vorgeschlagen, eine Oper auf ein Libretto von James Robinson Planché zu komponieren. Felix Mendelssohn Bartholdy war mit Planché seit seinem zweiten England-Aufenthalt 1832 persönlich bekannt. Chappell bot Felix Mendelssohn Bartholdy dann in seinem Brief vom 5. Oktober 1837 (gb-1837-10-05-01) 300 Pfund Sterling für die Komposition der Oper an (vgl. fmb-1837-11-17-01, Brief Nr. 1768, Z. 70). In der Folgezeit wurde das Opernlibretto, das die Belagerung von Calais durch Edward III. thematisierte, zwischen Chappell, Planché und Felix Mendelssohn Bartholdy unter dem Arbeitstitel »The brothers« diskutiert. Gelegentlich wurden auch die Bezeichnungen »Edward III and the Siege of Calais« bzw. »Eduard III. und die Belagerung von Calais verwendet«. Letztlich lehnte Felix Mendelssohn Bartholdy den Text ab und zog sich um die Jahreswende 1839/40 von dem Projekt zurück. Siehe dazu Planché, Recollections and Reflections, Bd. 1, S. 279 ff., Todd, On Mendelssohn’s Operatic Destiny, S. 117 f., und Todd, Felix Mendelssohn Bartholdy, S. 406. </note> I have fixed upon one as embracing all the points mentioned in <title xml:id="title_d11abdf6-d3bd-4cbb-986f-4e21fdb0aa7f">your letter <name key="PSN0000001" style="hidden" type="author">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</name> <name key="fmb-1838-02-12-05" style="hidden" type="letter">Felix Mendelssohn Bartholdy an James Robinson Planché in London, adressiert an William Chappell; Leipzig, 12. Februar 1838</name> </title>, <gap quantity="2" reason="deletion" unit="characters"></gap> <add place="above">in<name key="PSN0113896" resp="writers_hand" style="hidden">Planché, James Robinson (1796–1880)</name></add> a fuller degree than any that I have as yet lighted upon. It is the grand historical incident of the siege and surrender of Calais in the time of Edward 3<hi rend="superscript">d</hi> – Its interest is of the most popular kind and the event familiar to every English schoolboy. and it affords the finest scope for contrast of <gap quantity="1" reason="deletion" unit="words"></gap> passions – situations – scenery – picturesque costume – Pageantry &c. in short for all the features of a grand Opera – The noble feeling of the Patriot six devoting themselves for the preser<choice resp="writer" source="autograph_edition_template"><corr resp="writer">v</corr><sic resp="writer"></sic></choice>ation of their <add place="above">Fellow<name key="PSN0113896" resp="writers_hand" style="hidden">Planché, James Robinson (1796–1880)</name></add> Townsmen – the chivalric gallantry of Edward and the English Knights – The benevolence of Philippa of Hainault are all in accordance with the wish you express to avoid the darker and baser passions which have lately formed the staple of our Operas, and the story I purpose linking with it will not detract from those qualities <gap quantity="8" reason="deletion" unit="words"></gap> –. It will be as you say – “an historical Opera heroic but not tragical at least not with <unclear reason="paper_destruction" resp="UT">a</unclear> tragical end” – full of “dangers fears and all sorts of passions” – possessing “many & active Chorusses” – “a whole people” – opposed to<seg type="pagebreak"> |2| <pb n="2" type="pagebreak"></pb></seg>the <del cert="high" rend="strikethrough">principal</del> <add place="above">Solo<name key="PSN0113896" resp="writers_hand" style="hidden">Planché, James Robinson (1796–1880)</name></add> singers” – The “celebration of a <del cert="high" rend="strikethrough">rathe</del> virtuous heroical deed” – and “the triumph of a noble striking feeling” dividing itself naturally into <hi n="1" rend="underline">three</hi> acts – “each act having its own particular effect –” – “Its own poetical point coming to issue in the Finale” – In <hi n="1" rend="underline">design</hi> therefore <hi n="1" rend="underline">precisely</hi> what you require – The <hi n="1" rend="underline">execution</hi> I can only say shall be <hi n="1" rend="underline">my</hi> best, however poor that best may be – Your Genius my dear Sir must be my <choice resp="writer" source="autograph_edition_template"><corr resp="writer">E</corr><sic resp="writer">A</sic></choice>gis – and I feel pretty secure with the prospect of such protection. The notion I have at present of a story is as follows. – I suppose one of the principal Burgesses of Calais to have a daughter beloved by two friends – One of which (of course) she prefers: (but <hi n="1" rend="underline">secretly</hi>) to the other –. The one she does <hi n="1" rend="underline">not</hi> prefer <del cert="low" rend="strikethrough">it</del> is offered by the Father the hand of the Maiden provided he can execute some important mission in England. – The lover has departed for this purpose and during his absence Calais is invested by Edward 3<hi rend="superscript">d</hi> – and the lovers <unclear reason="uncertain_reading" resp="FMBC">esteem reinfected</unclear>. – He <unclear reason="uncertain_reading" resp="FMBC">arrives</unclear> at the beginning of the Opera <del cert="high" rend="strikethrough">with</del> in disguise and in the train of Queen Philippa<del cert="high" rend="strikethrough">,</del> and the first act which lies in the camp of the besiegers or rather the wooden town built by Edward outside the walls will be occupied with his endeavours to pass the lines and his ultimate weapon and passage into <del cert="high" rend="strikethrough">the</del> Calais –</p> <p><seg type="pagebreak">|3| <pb n="3" type="pagebreak"></pb></seg>In the second act we shall have the interior of the besieged city <del cert="low" rend="strikethrough">&</del> <add place="above">with<name key="PSN0113896" resp="writers_hand" style="hidden">Planché, James Robinson (1796–1880)</name></add> the famishing and despairing inhabitants – contrasted to the splendour and glory of the English camp –. The lover claiming the hand of the maiden as the maid of his service duly performed – and the struggle of the girl between gratitude for that <del cert="high" rend="strikethrough">duty</del> service to her father <add place="above">combined with<name key="PSN0113896" resp="writers_hand" style="hidden">Planché, James Robinson (1796–1880)</name></add> <del cert="low" rend="strikethrough">maid</del> duty – and the love she secretly bears the rival suitor – She decides in favour of duty and gratitude – and <del cert="high" rend="strikethrough">the</del> at this moment the Governor of Calais declares the conditions on which alone the English monarch will spare the Town – <del cert="low" rend="overwritten">Four</del><add place="overwritten">Five<name key="PSN0113896" resp="writers_hand" style="hidden">Planché, James Robinson (1796–1880)</name></add> of the Citizens inspired by the Example of Eustace de S<hi rend="superscript">t</hi> Pierre – devote themselves – a sixth is wanted – and the surprising rival of the accepted lover presents himself – This brings out the secret of the Maidens preference – and leads to <gap quantity="1" reason="deletion" unit="words"></gap> the Finale of 2<hi rend="superscript">nd</hi> Act. The third Act – developes the generous resolution of the accepted lover not to enjoy happiness at the expense of that of his Mistress and friend – The percession of the devoted six to the English camp is to take place at a certain hour – He manages to <gap quantity="1" reason="deletion" unit="words"></gap> detain his rival – beyond the appointed time – and departs in his stead – as is supposed to death – The mingled feelings of the astonished pair – will form a splendid subject for a grand duo – Shame at being supposed a coward – gratitude to his friend for his self devotion – anguish at the thought of his death – struggling with the joyful certainty of possessing the maid of his heart &c. – &c – They rush to the English Camp<seg type="pagebreak"> |4| <pb n="4" type="pagebreak"></pb></seg><del cert="high" rend="strikethrough">and</del> to fling themselves at the feet of Edward – and <del cert="high" rend="strikethrough">on arriving hear the happy</del> arrive to witness the well-known traditional denouement – The pardon of the whole six at the intercession of Philippa – </p> <p>What think you of this my dear Sir, as a sketch?</p> <closer rend="left">Pray answer as soon as possible as I have not too much time to get <add place="above">it<name key="PSN0113896" resp="writers_hand" style="hidden">Planché, James Robinson (1796–1880)</name></add> finished in and shall begin instanter upon the hope that it will please you – </closer> <signed rend="right">Yours truly</signed> <signed rend="right">J. R. Planché</signed> </div> <div n="2" type="act_of_writing" xml:id="div_4520a8d4-1d05-4847-882f-3eeba5de8594"> <docAuthor key="PSN0113896" resp="author" style="hidden">Planché, James Robinson (1796–1880)</docAuthor> <docAuthor key="PSN0113896" resp="writer" style="hidden">Planché, James Robinson (1796–1880)</docAuthor> <p style="paragraph_without_indent">Please to keep the subject a profound secret as there is an old Opera on the same which they would be bringing forward – the <hi n="1" rend="underline">story</hi> of which howe<unclear reason="covering" resp="UT">ver</unclear> is <hi n="1" rend="underline">quite different</hi>.</p> </div> </body> </text></TEI>