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Maschinenlesbare Übertragung der vollständigen Korrespondenz Felix Mendelssohn Bartholdys (FMB-C)
1 Doppelbl.: S. 1-3 Brieftext; S. 4 Adresse, 3 Poststempel [HAMBURG / 17 AUG.] [St. P. A. / 17. Aug. 38] [N-2 / 19 / 8]. 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.
No 3
st10
th
By this time the third act of the Opera is I trust on its way to you and I need scarcely say, I am all anxiety for your opinion on the whole work. To make a few observations on the third act as I did upon the two first – It opens with the scena for Blanche. as I before mentioned – The piece which follows may be either a trio or a quartette as you may think most advisable. The whole of the last scene is occupied by the Finale commencing and ending with the same grand chorus “Victoria” which you will pereceive is capable of being applied to our present most gracious Queen – an indirect compliment – which will make the chorus popular out of the Opera – and I thought it better to terminate the piece so than to give virgin a flourishing solo to Blanche a la
Pray remember that I Only them them out by way of hint – and by no means dictate to you or induce you to do anything you do not feel perfectly incluced & I tenors are Sad sticks – and one – (Guillaume of course), will be quite enough in the Opera – Edward I suppose will be a bass. – Sir Bards and Newrant – whatever you want them to be. The Queen’s music should be simple and chantent – as we shall not be able and get a great Lady & play so small a part although it is a very important one –
I forgot whether I dress your attention to the cicumstanceBlank Verse as we call it – – you can make foreign stage and even for our own take any portion of it that may strike you for composition. Forgive me of for all our sakes I end my letter with a parrots cry. “Melody!” “Melody!” “Melody!” Nothing else can ensure success on the English Stage.
digestedthe Drama and an interim
20 Brompton Crescent Augst 10th Dear Sir,
By this time the third act of the Opera is I trust on its way to you and I need scarcely say, I am all anxiety for your opinion on the whole work. To make a few observations on the third act as I did upon the two first – It opens with the scena for Blanche. as I before mentioned – The piece which follows may be either a trio or a quartette as you may think most advisable. The whole of the last scene is occupied by the Finale commencing and ending with the same grand chorus “Victoria” which you will pereceive is capable of being applied to our present most gracious Queen – an indirect compliment – which will make the chorus popular out of the Opera – and I thought it better to terminate the piece so than to give virgin a flourishing solo to Blanche a la Cenerentola – Sonambula &c &c &c –
The air of the Queen. “Mercy in the brightest gen” may afterwards be taken up by the whole chorus – or only by Blanche – or make a quintette – sestette – in short what you like, cf. –
Pray remember that I Only them them out by way of hint – and by no means dictate to you or induce you to do anything you do not feel perfectly incluced & I with the same feeling I suggest that if you could make Gaultier a baritone part true would be a greater chance of getting it will acted here – as our tenors are Sad sticks – and one – (Guillaume of course), will be quite enough in the Opera – Edward I suppose will be a bass. – Sir Bards and Newrant – whatever you want them to be. The Queen’s music should be simple and chantent – as we shall not be able and get a great Lady & play so small a part although it is a very important one –
I forgot whether I dress your attention to the cicumstance that as I have written the whole Opera in Blank Verse as we call it – – you can make put the dialogue into recitative for the foreign stage and even for our own take any portion of it that may strike you for composition. Forgive me of for all our sakes I end my letter with a parrots cry. “Melody!” “Melody!” “Melody!” Nothing else can ensure success on the English Stage.
Pray let me hear from you as soon as you have digested the Drama and an interim believe me Ever my dear Sir Yours faithfully J:R: Planché
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August 1838</title> <incipit>By this time the third act of the Opera is I trust on its way to you and I need scarcely say, I am all anxiety for your opinion on the whole work. To make</incipit> </msItem> </msContents> <physDesc> <p>1 Doppelbl.: S. 1-3 Brieftext; S. 4 Adresse, 3 Poststempel [HAMBURG / 17 AUG.] [St. P. A. / 17. Aug. 38] [N-2 / 19 / 8]. 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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="1838-08-10" xml:id="date_66401023-fc32-4ac9-80ac-740482963880">10. August 1838</date> </creation> <correspDesc> <correspAction type="sent"> <persName key="PSN0113896" resp="author" xml:id="persName_5503bb5f-11ed-4b80-9faa-a604306a53d2">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_5e039b53-d713-4e4c-a4bc-6afa4f3de98e"> <settlement key="STM0100126">London</settlement> <country>Großbritannien</country> </placeName> </correspAction> <correspAction type="received"> <persName key="PSN0000001" resp="receiver" xml:id="persName_f4b84ed6-d642-4a2e-8426-c2a3134d818a">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</persName> <placeName type="receiving_place" xml:id="placeName_7f0e2fb6-ba1d-4b0c-b284-86775a9932bc"> <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_a29e9f70-b63b-4c03-b8e0-6fa4d36751d3"> <head> <address> <addrLine>a Monsieur</addrLine> <addrLine>Monsieur F. Mendelssohn Bartholdy </addrLine> <addrLine>Leipziger Straße</addrLine> <addrLine><hi n="2" rend="underline">No 3</hi></addrLine> <addrLine>Berlin</addrLine> </address> </head> </div> <div n="1" type="act_of_writing" xml:id="div_4f77e85b-84bf-41bb-87c1-dd808069c0c2"> <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> <dateline rend="right">20 Brompton Crescent</dateline> <dateline rend="right"><date cert="high" when="1838-08-10" xml:id="date_6eaa5abd-9906-45f6-9d61-d611c9113656">Aug<hi rend="superscript">st</hi> 10<hi rend="superscript">th</hi></date></dateline> <salute rend="left">Dear Sir,</salute> <p style="paragraph_without_indent">By this time the third act of the Opera<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_ef18810d-af58-45c7-9d2f-8971e65c8181" xml:lang="en">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. 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> is I trust on its way to you and I need scarcely say, I am all anxiety for your opinion on the whole work. To make a few observations on the third act as I did upon the two first – It opens with the scena for Blanche. as I before mentioned – The piece which follows may be either a trio or a quartette as you may think most advisable. The whole of the last scene is occupied by the Finale commencing and ending with the same grand chorus “Victoria” which you will pereceive is capable of being applied to our present most gracious Queen<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_49896eba-ab2d-486d-8741-b2a735483813" xml:lang="en">our present most gracious Queen – Gemeint ist die englische Queen Victoria, die am 28. Juni 1838 zur Königin gekrönt wurde. </note> – an indirect compliment – which will make the chorus popular <hi n="1" rend="underline">out</hi> of the Opera – and I thought it better to terminate the piece so than to give virgin a flourishing solo to Blanche a la <title xml:id="title_325fd067-59aa-441d-99e0-8a38e3f827b6">Cenerentola<name key="PSN0114299" style="hidden" type="author">Rossini, Gioachino Antonio (1792–1868)</name><name key="CRT0110575" style="hidden" type="music">La Cenerentola ossia La bontà in trionfo</name></title> – <title xml:id="title_b2c96d60-f157-4222-8ea3-4c2b4a57c61c">Sonambula<name key="PSN0109794" style="hidden" type="author">Bellini, Vincenzo Salvatore Carmelo Francesco (1801–1835)</name><name key="CRT0108119" style="hidden" type="music">La sonnambula</name></title> &c &c &c – </p> <p><seg type="pagebreak"> |2| <pb n="2" type="pagebreak"></pb></seg>The air of the Queen. “Mercy in the brightest gen” may afterwards be taken up by the whole chorus – or only by Blanche – or make a quintette – sestette – in short what you like, cf. –</p> <p> Pray remember that I Only them them out by way of hint – and by no means dictate to you or induce you to do anything you do not feel perfectly incluced & I <gap quantity="1" reason="deletion" unit="words"></gap> with the same feeling I suggest that if you could make Gaultier a baritone<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_b2142b4a-9474-4ac3-9be4-80cfd4771a87" xml:lang="en">Gaultier a baritone – Eine Figur aus dem Opernlibretto James Robinson Planchés.</note> part true would be a greater chance of getting it will acted here – as our <hi n="1" rend="underline">tenors</hi> are Sad sticks – and one – (Guillaume of course), will be quite enough in the Opera – Edward I suppose will be a bass. – Sir Bards and Newrant<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_f73ce068-1eda-4ed1-8eae-fd54112bfd12" xml:lang="en">Sir Bards and Newrant – Zwei Figuren aus dem Opernlibretto James Robinson Planchés.</note> – whatever you want them to be. The Queen’s music should be simple and <hi n="1" rend="underline">chantent</hi><note resp="FMBC" style="hidden" type="translation" xml:id="note_a1c7ef12-7974-42fd-8077-709d0e6de700" xml:lang="fr ">chantent – frz., gesanghaft.</note> – as we shall not be able and get a great Lady & play so small a part although it is a very important one – </p> <p>I forgot whether I dress your attention to the cicumstance<seg type="pagebreak"> |3| <pb n="3" type="pagebreak"></pb></seg>that as I have written the whole Opera in <hi n="1" rend="underline">Blank Verse</hi><note resp="FMBC" style="hidden" type="word_description" xml:id="note_fed173bc-3c64-4de0-936d-c1989f0f7b04" xml:lang="de">Blank Verse – Der Blankvers, auch Shakespeare-Vers genannt, ist ein reimloser jambischer Fünfheber mit männlicher oder weiblicher Kadenz.</note> as we call it – – you can <del cert="high" rend="strikethrough" xml:id="del_8616ea55-abea-45c1-9464-039238ee325e">make</del> <add place="above">put<name key="PSN0113896" resp="writers_hand" style="hidden">Planché, James Robinson (1796–1880)</name></add> the dialogue <add place="above">into<name key="PSN0113896" resp="writers_hand" style="hidden">Planché, James Robinson (1796–1880)</name></add> recitative for the <hi n="1" rend="underline">foreign stage</hi> and even for <hi n="1" rend="underline">our own</hi> take any portion of it that may strike you for composition. Forgive me of for all our sakes I end my letter with a parrots cry. “Melody!” “Melody!” “Melody!” Nothing else can ensure success on the English Stage. </p> <closer rend="left">Pray let me hear from you as soon as you have <hi n="1" rend="underline">digested</hi> the Drama and an interim</closer> <closer rend="center">believe me</closer> <closer rend="center">Ever my dear Sir</closer> <closer rend="center">Yours faithfully</closer> <signed rend="center">J:R: Planché</signed> </div> </body> </text></TEI>