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London, 20. Juli 1838
Maschinenlesbare Übertragung der vollständigen Korrespondenz Felix Mendelssohn Bartholdys (FMB-C)
1 Doppelbl.: S. 1-4 Brieftext; S. 4 Adresse. 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
I hope the phraseology of the pernod – which I have introduced here and there will be no bar to your general understanding of the text.
th
I regret exceedingly that through the delay or miscarriage of
rChappell’s letter
rChappell
ndAct[→] also and I earnestly hope they may meet with your approval. I have studied
varietyand “activity” (to use your own phrase) as possible to the chorusses and concerted pieces. In the opening one – you will see that my intention has been to give you an opportunity for two
ndconcerted Piece – you will find a
Scenafor Gaultier which I have great hopes you will think capable of being made very effective. – The Recit & Air of Guillaume require I am sure no hint from me – You will see they are written – the latter portion especially – “Ah he shouts leave who’d learn to love thee” – with the feeling of one who has himself often stood upon the sea shore with his breast to the Breeze – his arms expanded and “lips apart” – almost embracing as he exhaled the invigorating – exhilaratory element. – In the Trio which follows I have introduced an ancient rondeau or rondelai
melodyas possible –. The Duet between Blanche and Guillaume needs only a remark respecting it close –
Blanche – Yet hear me tell –
That thou it another’s? – I
haveheard – Farewell –
I think this is new and may be made a striking effect in music – Avoiding the old hackneyed way of winding up a duet: but if I am wrong – the repetitive of the word “away – stay” – Farewell! &
In the Finale to 1st Act I need scarcely draw your attention to the contrast afforded by. Haste for soon – the rising moon – &c –and
Act 2nd opens with what I may be almost formatted to tune a mad chorus. – Which requires no explanation – The concerted Piece which favours commencing – “Welcome welcome they tonight say” is in my opinion the most important piece in the opera and one I have much pleased myself with – I hope I may have been equally fortunate in pleasing you – The opportunity for musical effect is I think you will acknowledge quest from the variety
The duet which comes next is also a favourite with me – The little ballad
The next air – Guillaume’s – is a sacrifice we must me
The Finale speaks for itself – It must be of of Blanches great efforts – and with fall upon her shoulders and those of Gaulthier – The chorus “ Honor eternal Honor to the Brave – I have done there of introducing again in the 3nd act when the sige enter the presence of Edward.
I have been thus diffuse my dear Sir, as unfortunately I shall have no opportunity of sending the piece to you and comparing tales with you – Be assured that I shall receive work the greatest respect any suggestions or criticism of yours I am convinced thus with not be needlesly made and that you will not press any serious alterations, which might embarass the march of the story or dash with its construction. I confess before hand I find much
The 3d Act will I hope be finished next week – It will be a short one as all 3d act should be – the principal future – a scena for Blanche
I hope the phraseology of the pernod – which I have introduced here and there will be no bar to your general understanding of the text. Brompton Crescent July 20th My dear Sir I regret exceedingly that through the delay or miscarriage of Mr Chappell’s letter, you were left in anxiety respecting my view of the Opera after the receipt of your second despatch . I had requested Mr Chappell to say that I thought the best answer to your observations would be the first Act of the Opera itself in which you would perceive that I had anticipated some of your very natural doubts and queries – you will now receive with this letter the 2nd Act also and I earnestly hope they may meet with your approval. I have studied in the lyrical portions to express passion more than to indulge in imagery or poetical conceits and you will therefore find the style very different to that of my “Oberon” the oriental and imaginative complexion of which demanded the opposite treatment. I have also endeavoured to give as much variety and “activity” (to use your own phrase) as possible to the chorusses and concerted pieces. In the opening one – you will see that my intention has been to give you an opportunity for two distinct chorusses (“S. George for merry England” – and “What age lack. ”) to work one against the other – either alternately – or at the same time – ending however with a general burst of welcome to the Queen, which is the predominating feeling of the multitude. In the 2nd concerted Piece – you will find a Scena for Gaultier which I have great hopes you will think capable of being made very effective. – The Recit & Air of Guillaume require I am sure no hint from me – You will see they are written – the latter portion especially – “Ah he shouts leave who’d learn to love thee” – with the feeling of one who has himself often stood upon the sea shore with his breast to the Breeze – his arms expanded and “lips apart” – almost embracing as he exhaled the invigorating – exhilaratory element. – In the Trio which follows I have introduced an ancient rondeau or rondelai (for Blanche) – the words altered from Froissart himself (the Chronicles of the Siège!) – “Reviens Amy, trop longue est ta demeure. ” – This I should like to be as simple and sweet a melody as possible –. The Duet between Blanche and Guillaume needs only a remark respecting it close – Blanche – Yet hear me tell – Guill That thou it another’s? – I have heard – Farewell – I think this is new and may be made a striking effect in music – Avoiding the old hackneyed way of winding up a duet: but if I am wrong – the repetitive of the word “away – stay” – Farewell! & can be used ad libitum. In the Finale to 1st Act I need scarcely draw your attention to the contrast afforded by. Haste for soon – the rising moon – &c –and the prayer – “Notre Dame de Vous secours. ” Act 2nd opens with what I may be almost formatted to tune a mad chorus. – Which requires no explanation – The concerted Piece which favours commencing – “Welcome welcome they tonight say” is in my opinion the most important piece in the opera and one I have much pleased myself with – I hope I may have been equally fortunate in pleasing you – The opportunity for musical effect is I think you will acknowledge quest from the variety and alternation of feeling .. Hope – Disappointment – Transport – Despair – the distant mmeh of the retreating forces and and – The duet which comes next is also a favourite with me – The little ballad (Romance) in the middle of it for Gaultier. You will I am sure feel ought to be a hit – distinct – melodious – pathetic – The next air – Guillaume’s – is a sacrifice we must me the Galleries – It must be one ”to grind on the organ”. The Finale speaks for itself – It must be of of Blanches great efforts – and with fall upon her shoulders and those of Gaulthier – The chorus “ Honor eternal Honor to the Brave – I have done there of introducing again in the 3nd act when the sige enter the presence of Edward. I have been thus diffuse my dear Sir, as unfortunately I shall have no opportunity of sending the piece to you and comparing tales with you – Be assured that I shall receive work the greatest respect any suggestions or criticism of yours I am convinced thus with not be needlesly made and that you will not press any serious alterations, which might embarass the march of the story or dash with its construction. I confess before hand I find much difficulty in untying any dramatic Kunst I have myself made although I can cut thou of other with Alexandrian intrepidity – and this from no undue preference of my own work – but from the necessity of getting rid of pre-conceived ideas upon the subject which having possesion ( – “nine points of the law: ”) in their favour me as hard and eject as an obstinate tenant: Let me hear from you as soon as possible and believe me dear Sir, Ever yours faithfully J:R: Planché The 3d Act will I hope be finished next week – It will be a short one as all 3d act should be – the principal future – a scena for Blanche
<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-1838-07-20-02" xml:space="default"> <teiHeader xml:lang="de"> <fileDesc> <titleStmt> <title key="gb-1838-07-20-02" xml:id="title_0d402047-5ec9-457a-a9f5-82ccfab509c5">James Robinson Planché an Felix Mendelssohn Bartholdy in Berlin <lb></lb> London, 20. Juli 1838</title> <title level="s" type="incipit" xml:id="title_f3617ced-ddb1-49cb-8430-2b5280e80b62">I hope the phraseology of the pernod – which I have introduced here and there will be no bar to your general understanding of the text. 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Juli 1838</title> <incipit>I hope the phraseology of the pernod – which I have introduced here and there will be no bar to your general understanding of the text. I regret exceedingly that through the delay or miscarriage of</incipit> </msItem> </msContents> <physDesc> <p>1 Doppelbl.: S. 1-4 Brieftext; S. 4 Adresse. Der Brief ist vollständig in lateinischen Buchstaben geschrieben.</p> <handDesc hands="1"> <p>James Robinson Planché</p> </handDesc> <accMat> <listBibl> <bibl type="textTemplate">Der zweite Akte des Opern-Librettos zu »Edward III and the Siege of Calais« (Edward III. und die Belagerung von Calais) von James Robinson Planché</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="1838-07-20" xml:id="date_05262c7a-d8a6-4d69-ae38-f7072b5d9c3e">20. Juli 1838</date> </creation> <correspDesc> <correspAction type="sent"> <persName key="PSN0113896" resp="author" xml:id="persName_faf7f7c5-a7f4-4570-a061-654c2163bf22">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_aed646e5-03f7-4672-8bc1-ae71c2fa5af8"> <settlement key="STM0100126">London</settlement> <country>Großbritannien</country> </placeName> </correspAction> <correspAction type="received"> <persName key="PSN0000001" resp="receiver" xml:id="persName_0bff855d-2c04-4749-a3c1-b8d7d119aa66">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</persName> <placeName type="receiving_place" xml:id="placeName_82343c43-8c67-483c-9ade-7a6177673768"> <settlement key="STM0100101">Berlin</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_0fd7af4b-4ccb-44af-8e1e-fc39d22915a0"> <head> <address> <addrLine><hi rend="latintype">Monsieur</hi></addrLine> <addrLine><hi rend="latintype">Monsieur F. Mendelssohn Bartholdy</hi></addrLine> </address> </head> </div> <div n="1" type="act_of_writing" xml:id="div_5c86df11-1c6e-4609-9bf0-75d420ef67ba"> <docAuthor key="PSN0113896" resp="author" style="hidden" xml:id="docAuthor_31552ebe-e709-40ca-bbc9-5eab5788b022">Planché, James Robinson (1796-1880)</docAuthor> <docAuthor key="PSN0113896" resp="writer" style="hidden" xml:id="docAuthor_18d235e8-f949-4841-9166-d65982573135">Planché, James Robinson (1796-1880)</docAuthor> <p style="paragraph_without_indent">I hope the phraseology of the pernod – which I have introduced here and there will be no bar to your general understanding of the text.</p> </div> <div n="2" type="act_of_writing" xml:id="div_f8862e67-73b0-4652-9714-2a523357a91a"> <docAuthor key="PSN0113896" resp="author" style="hidden" xml:id="docAuthor_c3d217e1-aed7-4997-b19b-07c368f0b905">Planché, James Robinson (1796-1880)</docAuthor> <docAuthor key="PSN0113896" resp="writer" style="hidden" xml:id="docAuthor_f37445f2-37a9-45e3-a52a-6ce8b272860e">Planché, James Robinson (1796-1880)</docAuthor> <dateline rend="right">Brompton Crescent</dateline> <dateline rend="right">July 20<hi rend="superscript">th</hi></dateline> <salute rend="left">My dear Sir</salute> <p style="paragraph_without_indent">I regret exceedingly that through the delay or miscarriage of <title xml:id="title_fae32dea-21a9-4fd3-8dd8-2dcec53e18f0">M<hi rend="superscript">r</hi> Chappell’s letter <name key="PSN0110350" style="hidden" type="author">Chappell, Thomas Patey (1819-1902)</name> <name key="gb-1838-07-11-02" style="hidden" type="letter">Thomas Chappell an Felix Mendelssohn Bartholdy in Berlin; London, 11. Juli 1838</name> </title>,<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_36412a1a-2b38-46c0-b394-3f1984066980" xml:lang="en">delay or miscarriage of M r Chappell’s letter – siehe dazu auch Brief gb-1838-01-11-01 William Chappell an Felix Mendelssohn Bartholdy in Leipzig, London, 11. Januar 1838, sowie Brief fmb-1838-06-26-01 Felix Mendelssohn Bartholdy an William Chappell in London, Berlin, 26. Juni 1838.</note> you were left in anxiety respecting my view of the <title xml:id="title_4041c5b4-d937-47ec-8cca-d77212923440">Opera<name key="PSN0113896" style="hidden" type="author">Planché, James Robinson (1796–1880)</name><name key="CRT0110329" style="hidden" type="dramatic_work">The Brothers (auch: Edward III and the Siege of Calais / Eduard III. und die Belagerung von Calais) (Libretto)</name></title><note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_47ae3c7f-ea34-49a4-b075-3445e62e9802" xml:lang="en">the 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 gb-1837-10-05-01 vom 5. Oktober 1837 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. Ggelegentlich 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> after the receipt of <title xml:id="title_6f9b8f5d-62f2-4ae1-b327-f14312bc4777">your second despatch <name key="PSN0000001" style="hidden" type="author">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</name> <name key="fmb-1838-06-26-01" style="hidden" type="letter">Felix Mendelssohn Bartholdy an William Chappell in London; Berlin, 26. Juni 1838</name> </title>. I had requested <persName xml:id="persName_3593c5c3-76ed-4d5d-99b8-4c72d2214f46">M<hi rend="superscript">r</hi> Chappell<name key="PSN0110351" style="hidden" type="person">Chappell, William (1809-1888)</name></persName> to say that I thought the best answer to your observations would be the first Act of the Opera itself in which you would perceive that I had anticipated some of your very natural doubts and queries – you will now receive with this letter the 2<hi rend="superscript">nd</hi> Act<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_adf93c0c-a762-4ccc-bf19-4de4e4dcef1e" xml:lang="en">you will now receive with this letter the 2nd Act also – Der Anfang des Opern-Librettos zu Edward III and the Siege of Calais (Edward III. und die Belagerung von Calais) lag offensichtlich einem verloren gegangenen Brief Planchés oder aber William Chappells an Felix Mendelssohn Bartholdy vor dem 20. Juli 1838. bei. Laut Mendelssohn erhielt er die erstn beiden Opern-Akte jedoch erst in der ersten Augustwoche 1838 – siehe dazu Brief fmb-1838-08-12-01 (Brief Nr. 2070) Felix Mendelssohn Bartholdy an James Robinson Planché in London; Leipzig, 12. August 1838. In seinem Brief gb-1838-04-05-01 vom 5. April 1838 hatte James Robinson Planché Einzelheiten zu seinem Libretto erläutert. Das niemals ausgeführte Projekt beschäftigte Felix Mendelssohn Bartholdy 1838/39 sehr intensiv. Die in diesem Zusammenhang geschriebenen Briefe zeigen deutlich seine Vorstellungen zur Operndramaturgie. </note> also and I earnestly hope they may meet with your approval. I have studied <gap quantity="1" reason="deletion" unit="words"></gap> in the lyrical portions <add place="above">to express<name key="PSN0113896" resp="writers_hand" style="hidden">Planché, James Robinson (1796-1880)</name></add> passion more than <gap quantity="1" reason="deletion" unit="words"></gap> to indulge in imagery or poetical conceits and you will therefore find the style very different to that of my “<title xml:id="title_1e649cee-82ac-41e3-81c0-a64b3fba92b2"><title xml:id="title_d0ed4a51-2078-4d93-87de-89b00ceb8911">Oberon<name key="PSN0115645" style="hidden" type="author">Weber, Carl Maria Friedrich Ernst von (1786–1826)</name><name key="CRT0111259" style="hidden" type="music">Oberon, or the Elf King’s Oath WeV C. 10</name></title><name key="PSN0113896" style="hidden" type="author">Planché, James Robinson (1796–1880)</name><name key="CRT0111890" style="hidden" type="dramatic_work">Oberon. A Romantic and Fairy Opera (Libretto)</name></title>” the oriental and imaginative complexion of which demanded the opposite treatment. I have also endeavoured to give as much <hi n="1" rend="underline">variety</hi> and “activity” (to use your own phrase) as possible to the chorusses and concerted pieces. In the opening one – you will see that my intention has been to give you an opportunity for two<seg type="pagebreak"> |2|<pb n="2" type="pagebreak"></pb></seg> distinct chorusses (“S. George for merry England” – and “What age lack.”) to work one against the other – either alternately – or at the same time – ending however with a general burst of welcome to the Queen, which is the predominating feeling of the multitude. In the 2<hi rend="superscript">nd</hi> concerted Piece – you will find a <hi n="1" rend="underline">Scena</hi> for Gaultier which I have great hopes you will think capable of being made very effective. – The Recit & Air of Guillaume require I am sure no hint from me – You will see they are written – the latter portion especially – “Ah he shouts leave who’d learn to love thee” – with the feeling of one who has himself often stood upon the sea shore with his breast to the Breeze – his arms expanded and “lips apart” – almost embracing as he exhaled the invigorating – exhilaratory element. – In the Trio which follows I have introduced an ancient rondeau or rondelai <add place="above">(for Blanche)<name key="PSN0113896" resp="writers_hand" style="hidden">Planché, James Robinson (1796-1880)</name></add> – the words altered from <persName xml:id="persName_cd72454b-9573-4c90-9bfd-72e8fcb731f0">Froissart<name key="PSN0120097" style="hidden" type="person">Froissart, Jean (1337-1405)</name></persName> himself (the Chronicles of the Siège!) – “<title xml:id="title_64688188-8020-434b-afec-ac7e50ddde99">Reviens Amy, trop longue est ta demeure<name key="PSN0120097" style="hidden" type="author">Froissart, Jean (1337–1405)</name><name key="CRT0112813" style="hidden" type="literature">Rondel sur un départ (»Le corps s’en va, mais le cœur vous demeure«)</name></title>.”<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_fa615eec-2c1f-4dfd-b306-8d9607e8e6f9" xml:lang="fr ">Reviens Amy, trop longue est ta demeure – <ref target="https://www.google.de/books/edition/La_France_po%C3%A9tique_oder_poetischer_Haus/E4lTAAAAcAAJ?hl=de&gbpv=1&dq=Reviens+Amy,+trop+longue+est+ta+demeure.&pg=PA537&printsec=frontcover" xml:id="ref_de4010c8-5e78-4fa3-91cb-4c47a4dbd117">Jean Froissart, Rondel sur un départ</ref> (1350).</note> – This I should like to be as simple and sweet a <hi n="1" rend="underline">melody</hi> as possible –. The Duet between Blanche and Guillaume needs only a remark respecting it close – </p> <p><hi n="1" rend="underline">Blanche</hi> – Yet hear me tell – </p> <p><hi n="1" rend="underline"><choice resp="editor" source="autograph_edition_template" xml:id="choice_2b6ed991-e655-4977-a285-2fd9e29d9e13"> <sic resp="writer">Guill</sic> <corr resp="editor">Guillaume</corr> </choice></hi> That thou it another’s? – I <hi n="2" rend="underline">have</hi> heard – Farewell –</p> <p>I think this is <hi n="1" rend="underline">new</hi> and may be made a striking effect in music – Avoiding the old hackneyed way of winding up a duet: but if I am wrong – the repetitive of the word “away – stay” – Farewell! & <gap quantity="1" reason="deletion" unit="words"></gap> can be used ad libitum. </p> <p>In the Finale to 1<hi rend="superscript">st</hi> Act I need scarcely draw your attention to the contrast afforded by. Haste for soon – the rising moon – &c –and<seg type="pagebreak"> |3|<pb n="3" type="pagebreak"></pb></seg> the prayer – “Notre Dame de Vous secours.”</p> <p>Act 2<hi rend="superscript">nd</hi> opens with what I may be almost formatted to tune a <hi n="1" rend="underline">mad</hi> chorus. – Which requires no explanation – The concerted Piece which favours commencing – “Welcome welcome they tonight say” is in my opinion the most important piece in the opera and one I have much pleased myself with – I hope I may have been equally fortunate in pleasing you – The opportunity for musical effect is I think you will acknowledge quest from the variety <gap quantity="1" reason="deletion" unit="characters"></gap> and alternation of feeling .. Hope – Disappointment – Transport – Despair – the distant mmeh of the retreating forces and and –</p> <p>The duet which comes next is also a favourite with me – The little ballad <add place="above">(Romance)<name key="PSN0113896" resp="writers_hand" style="hidden">Planché, James Robinson (1796-1880)</name></add> in the middle of it for Gaultier. You will I am sure feel ought to be a hit – distinct – melodious – pathetic – </p> <p>The next air – Guillaume’s – is a sacrifice we must me<gap quantity="5" reason="seal_tear-off" unit="characters"></gap> the Galleries – It must be one ”to grind on the organ”.</p> <p>The Finale speaks for itself – It must be of of Blanches great efforts – and with fall upon her shoulders and those of Gaulthier – The chorus “ Honor eternal Honor to the Brave – I have done there of introducing again in the 3<hi rend="superscript">nd</hi> act when the sige enter the presence of Edward.</p> <p>I have been thus diffuse my dear Sir, as unfortunately I shall have no opportunity of sending the piece to you and comparing tales with you – Be assured that I shall receive work the greatest respect any suggestions or criticism of yours I am convinced thus with not be needlesly made and that you will not press any serious alterations, which might embarass the march of the story or dash with its construction. I confess before hand I find much<seg type="pagebreak"> |4|<pb n="4" type="pagebreak"></pb></seg> difficulty in untying any dramatic Kunst I have myself made although I can cut thou of other with Alexandrian intrepidity – and this from no undue preference of my own work – but from the necessity of getting rid of pre-conceived ideas upon the subject which having possesion (<gap quantity="1" reason="deletion" unit="words"></gap> – <add place="above">“nine<name key="PSN0113896" resp="writers_hand" style="hidden">Planché, James Robinson (1796-1880)</name></add> points of the law: ”) in their favour me as hard and eject as an obstinate tenant: Let me hear from you as soon as possible and</p> <closer rend="left">believe me dear Sir, </closer> <signed rend="right">Ever yours faithfully </signed> <signed rend="right">J:R: Planché</signed> </div> <div n="3" type="act_of_writing" xml:id="div_4ad2bd8f-754f-4d4e-98ab-87da878d02ee"> <docAuthor key="PSN0113896" resp="author" style="hidden" xml:id="docAuthor_2c21f3a6-57ed-4b63-8640-256d68b208e0">Planché, James Robinson (1796-1880)</docAuthor> <docAuthor key="PSN0113896" resp="writer" style="hidden" xml:id="docAuthor_712c3b6f-995d-41c0-bf24-9aa9fcca9a80">Planché, James Robinson (1796-1880)</docAuthor> <p style="paragraph_without_indent">The 3<hi rend="superscript">d</hi> Act will I hope be finished next week – It will be a <hi n="1" rend="underline">short</hi> one as all 3<hi rend="superscript">d</hi> act should be – the principal future – a scena for <hi n="1" rend="underline">Blanche</hi></p> </div> </body> </text></TEI>