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Maschinenlesbare Übertragung der vollständigen Korrespondenz Felix Mendelssohn Bartholdys (FMB-C)
1 Doppelbl.: S. 1-3 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.
à
Monsieur
Mon
sieurFelix Mendelssohn Bartholdyry20
th1839
I have had a long conversation with r Chappel
resentany attempts to thrust a comic part into a serious Drama. Provided the music be
spiritedand not
lengthythey care little for comic relief unless it arises much
naturallyout of the
subjectwhich in this case I do not see the possibility of its doing. In
French
broken English! – The everlasting Irishman – that was lugged into every Piece whether the scene laid in Europe Asia Africa or America – and a “jeune comique” “La Gloire” constructed
comiceffects – even had opportunities presented themselves which (my
rColman’s)
r Chappellserious or even tragical it need not be heavy or dull – There is life and movement in the plot – story interests (I trust) and continual bustle – The opening is of the most lively and varied description – The first Song of Guillaume one of joy and hope – Each of the duet which follows of the same description – The commencement of the finale to 1st Act – “chantant and characteristic.
The opening of the second act is again of the most joyous description – The relieved garnison are positively wild with delight & triumph! – Portions of the concerted piece which succeed are also full of exaltation –
In the third act there is very little music: but of that littleFestal and Joyous in the extreme! – and in the most serious portions of the whole work, if there is but Melody depend upon if they will not think it dull. – Audiences that have gone mad about “
infamously
sungAs it has been, are sufficiently enlightened to receive
first
rate
serious music, (as
yoursI feel
will be), without requiring
comic relief. In my opinion there is
lightand
shadeenough in the picture, and you have it in your own power to increase either the brillancy or the darkness.
I believe I mentioned to you in
rColman’s drama. The latter has not been played for years and though of course it will be raked up again, whenever our Opera comes forward no resemblance will be found to exist between them further than the well known incident of the Surrender of the City and the six
Can you not steam away from immense advantage to both of us – Repondez s’il vous plait.
20 Brompton Crescent Febry 20th 1839. My dear Sir
I have had a long conversation with Mr Chappel who has shown me the letter addressed to him by you at Leipzig and I take this earliest oppurtunity my numerous and pressing avocccations have afforded me to assure you how proud I am of the highly flattering opinion you have expressed respecting my Opera and how anxious I am to do anything of my power that may be most agreable and satisfactory to you in the way of alteration during the course of its composition. In the first place however I must beg you to dismiss all fears founded on the wholly serious character of the Opera. The Public here are now perfectly accustomed to Grand & Serious Opera and even inclined to resent any attempts to thrust a comic part into a serious Drama. Provided the music be spirited and not lengthy they care little for comic relief unless it arises much naturally out of the subject which in this case I do not see the possibility of its doing. In George Colman’s Musical Drama “the Surrender of Calais” – the piece to which your friend attended there are several comic characters introduced in the very worst taste: but at that time it was a necessary sacrifice to the vulgars – there are two carpenters making bad Jokes about a scaffold (a miserable imitation of the Grave diggers in Hamlet) – a parody of Starring French citizens – talking to each other in broken English! – The everlasting Irishman – that was lugged into every Piece whether the scene laid in Europe Asia Africa or America – and a “jeune comique” “La Gloire” constructed after the old stage fashion and most liberally supplied with clap-traps of every description. These very circumstances would have induced me to steer as clear as possible of comic effects – even had opportunities presented themselves which (my story plot differing entirely from that of Mr Colman’s) they did not do.
Mr Chappell perfectly agrees with me that because an Opera is serious or even tragical it need not be heavy or dull – There is life and movement in the plot – story interests (I trust) and continual bustle – The opening is of the most lively and varied description – The first Song of Guillaume one of joy and hope – Each of the duet which follows of the same description – The commencement of the finale to 1st Act – “Garely boys the tide is serving” should be light, chantant and characteristic.
The opening of the second act is again of the most joyous description – The relieved garnison are positively wild with delight & triumph! – Portions of the concerted piece which succeed are also full of exaltation –
In the third act there is very little music: but of that little the “Victoria” chorus which commences and concludes the Finale is Festal and Joyous in the extreme! – and in the most serious portions of the whole work, if there is but Melody depend upon if they will not think it dull. – Audiences that have gone mad about “Der Freyschütz" and bore “Guillaume Tell” infamously sung As it has been, are sufficiently enlightened to receive first rate serious music, (as yours I feel will be), without requiring comic relief. In my opinion there is light and shade enough in the picture, and you have it in your own power to increase either the brillancy or the darkness.
I believe I mentioned to you in my first letter the existence of a piece in some historical subject (“The Surrender of Calais” by George Colman the younger before alluded to) and therefore continued you as to letting the subject of our escape. The title “The brothers” although I am not in love with it – will for the prevent at least present anybody having a quest of the plot, which as I have before stated differs entirely from that of Mr Colman’s drama. The latter has not been played for years and though of course it will be raked up again, whenever our Opera comes forward no resemblance will be found to exist between them further than the well known incident of the Surrender of the City and the six with which of course the action must finish in both. Trusting that you are quite recovered and ready to begin the work like “a Giant refreshed” believe me
My dear Sir
Yours sincerely
J. R. Planché
Can you not steam away from Dusseldorf for a day or two in April or May? It would be of immense advantage to both of us – Repondez s’il vous plait.
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Februar 1839</title> <incipit>I have had a long conversation with Mr Chappel who has shown me the letter addressed to him by you at Leipzig and I take this earliest oppurtunity my numerous and pressing avocccations have afforded</incipit> </msItem> </msContents> <physDesc> <p>1 Doppelbl.: S. 1-3 Brieftext; S. 4 Adresse, Siegel. 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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="1839-02-20" xml:id="date_b39701ef-cb31-4d90-b70a-4ce67c4aa566">20. Februar 1839</date></creation> <correspDesc> <correspAction type="sent"> <persName key="PSN0113896" resp="author" xml:id="persName_39154710-703e-439f-904e-fa47c5e3f8a7">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_deda53d2-a23f-4434-a0ca-5d48f8047518"> <settlement key="STM0100126">London</settlement><country>Großbritannien</country> </placeName> </correspAction> <correspAction type="received"> <persName key="PSN0000001" resp="receiver" xml:id="persName_067600b2-db6c-4836-9386-522a45ae40f3">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</persName> <placeName type="receiving_place" xml:id="placeName_8a6bf4ab-0e63-40b9-bff4-ed2d0e10a6d6"> <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_47799cd1-d13e-47aa-8d83-b4a42b49ba16"> <head> <address> <addrLine><hi rend="latintype">à</hi></addrLine> <addrLine><hi rend="latintype">Monsieur</hi></addrLine> <addrLine><hi rend="latintype">Mon<hi rend="superscript">sieur</hi> Felix Mendelssohn Bartholdy</hi></addrLine> </address> </head> </div> <div n="1" type="act_of_writing" xml:id="div_72ab6daa-e47d-4bd8-9053-c274765aa1f4"> <docAuthor key="PSN0113896" resp="author" style="hidden" xml:id="docAuthor_496d5bdd-7c16-4784-b526-a4848ae8835c">Planché, James Robinson (1796–1880)</docAuthor> <docAuthor key="PSN0113896" resp="writer" style="hidden" xml:id="docAuthor_4b22fa66-f1a0-4ae1-96ec-a0627325beb3">Planché, James Robinson (1796–1880)</docAuthor> <dateline rend="right">20 Brompton Crescent</dateline> <dateline rend="right"><date cert="high" when="1839-02-20" xml:id="date_66bd9a0b-3cb2-4f53-8702-d4af6c29e4d8">Feb<hi rend="superscript">ry</hi> 20<hi rend="superscript">th</hi> 1839</date>.</dateline> <salute rend="left">My dear Sir</salute> <p style="paragraph_without_indent">I have had a long conversation with <persName xml:id="persName_d782a4a2-c860-47c5-9255-4afaf76aef2a">M<hi rend="superscript">r</hi> Chappel<name key="PSN0110351" style="hidden" type="person">Chappell, William (1809-1888)</name></persName> who has shown me the <title xml:id="title_97d38752-7fc7-4e82-93d9-ffbc12122f64">letter <name key="PSN0000001" style="hidden" type="author">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</name> <name key="fmb-1838-12-29-03" style="hidden" type="letter">Felix Mendelssohn Bartholdy an William Chappell in Leipzig; Leipzig, 29. Dezember 1838</name> </title> addressed to him by you at <placeName xml:id="placeName_2930eb9e-acf8-444c-b536-ca058f0e454a">Leipzig<settlement key="STM0100116" style="hidden" type="locality">Leipzig</settlement><country style="hidden">Deutschland</country></placeName> and I take this earliest oppurtunity my numerous and pressing avocccations have afforded me to assure you how proud I am <gap quantity="1" reason="deletion" unit="words"></gap> of the highly flattering opinion you have expressed respecting my <title xml:id="title_748bc6d4-b145-4aff-b0e5-83c5bf433905">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> and how anxious I am to do anything <add place="above"><unclear reason="covering" resp="FMBC">of</unclear> my power<name key="PSN0113896" resp="writers_hand" style="hidden">Planché, James Robinson (1796–1880)</name></add> that may be most agreable and satisfactory to you<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_1de8ed16-25e8-458d-b6b7-7c8f78ea4c42" xml:lang="en">that may be most agreable and satisfactory to you – Felix Mendelssohn Bartholdy trug sich bereits seit mehreren Jahren mit der Idee, eine Oper zu komponieren. Anfangs stand er in Verhandlungen mit Karl von Holtei über ein mögliches Opernlibretto (z. B. Brief fmb-1836-12-04-01). Doch es kam zu keiner Zusammenarbeit. Noch im Juni 1837 schrieb Mendelssohn an seinen Freund Eduard Devrient: »Eine Wohnung und einen Operntext! Das ist jetzt mein Feldgeschrei« (Brief fmb-1837-06-02-01). Zu Beginn des Jahres 1838 lehnte er mehrere ihm zugesandte Opernlibretti ab, eine Zusammenarbeit mit James Robinson Planché scheiterte um die Jahreswende 1839/40. Planchés Opern-Libretto wurde schließlich an den Komponisten Henry Smart weitergegeben, der seine Vertonung aber aus gesundheitlichen Gründen nicht vollendete.</note> in the way of alteration during the course of its composition. In the first place however I must beg you to dismiss all fears founded on the wholly serious character of the Opera. The Public here are now perfectly accustomed to Grand & Serious Opera and even inclined to <hi n="1" rend="underline">resent</hi> any attempts to thrust a comic part into a serious Drama. Provided the music be <hi n="1" rend="underline">spirited</hi> and not <hi n="1" rend="underline">lengthy</hi> they care little for comic relief unless it arises much <hi n="1" rend="underline">naturally</hi> out of the <hi n="1" rend="underline">subject</hi> which in this case I do not see the possibility of its doing. In <persName xml:id="persName_32e6c274-c774-4c94-92fb-8dd9276f30ec">George Colman’s<name key="PSN0110444" style="hidden" type="person">Colman, George d. J. (1762-1836)</name></persName> Musical Drama “<title xml:id="title_85e9e66c-f974-43f9-acfd-e82650802c4c">the Surrender of Calais<name key="PSN0110444" style="hidden" type="author">Colman, George d. J. (1762–1836)</name><name key="CRT0108458" style="hidden" type="dramatic_work">The Surrender of Calais</name></title>” – the piece to which your <persName xml:id="persName_022292ea-9cb1-43a1-8abb-315546eb5c03">friend<name key="PSN0110351" style="hidden" type="person">Chappell, William (1809-1888)</name></persName> attended there are several comic characters introduced in the very worst taste: but at that time it was a necessary sacrifice to the vulgars – there are two carpenters making bad Jokes about<seg type="pagebreak"> |2|<pb n="2" type="pagebreak"></pb></seg> a scaffold (a miserable imitation of the Grave diggers in <title xml:id="title_12bfca0d-121b-4432-bd06-6922be983f4d">Hamlet<name key="PSN0114889" style="hidden" type="author">Shakespeare, William (1564–1616)</name><name key="CRT0110859" style="hidden" type="dramatic_work">Hamlet (The Tragedy of Hamlet, Prince of Denmark)</name></title>) – a parody of Starring <add place="above"><hi n="1" rend="underline">French</hi><name key="PSN0113896" resp="writers_hand" style="hidden">Planché, James Robinson (1796–1880)</name></add> citizens – talking to each other in <hi n="1" rend="underline">broken English</hi>! – The everlasting Irishman – that was lugged into every Piece whether the scene laid in Europe Asia Africa or America – and a “jeune comique”<note resp="FMBC" style="hidden" type="translation" xml:id="note_14210d67-a36f-4bc0-8887-6e4d39c5fd23" xml:lang="fr ">jeune comique – frz., junger Komiker.</note> “La Gloire”<note resp="FMBC" style="hidden" type="translation" xml:id="note_5484031a-d7ea-4f74-b3fa-ab47139f2070" xml:lang="fr ">La Gloire – frz., Der Ruhm.</note> constructed <gap quantity="1" reason="deletion" unit="words"></gap> after the old stage fashion and most liberally supplied with clap-traps of every description. These very circumstances <add place="above">would have<name key="PSN0113896" resp="writers_hand" style="hidden">Planché, James Robinson (1796–1880)</name></add> induced me to steer as clear as possible of <hi n="1" rend="underline">comic</hi> effects – even had opportunities presented themselves which (my <del cert="high" rend="strikethrough" xml:id="del_1675bd71-0565-431c-a709-4aebc6b5e322">story</del> <add place="above">plot<name key="PSN0113896" resp="writers_hand" style="hidden">Planché, James Robinson (1796–1880)</name></add> differing entirely from that of M<hi rend="superscript">r</hi> Colman’s) <gap quantity="1" reason="deletion" unit="words"></gap> they did not do.</p> <p><persName xml:id="persName_023ff40b-83cc-4111-9f61-b630b9268208">M<hi rend="superscript">r</hi> Chappell<name key="PSN0110351" style="hidden" type="person">Chappell, William (1809-1888)</name></persName> perfectly agrees with me that because an Opera is <hi n="1" rend="underline">serious</hi> or even <hi n="1" rend="underline">tragical</hi> it need not be <hi n="1" rend="underline">heavy</hi> or <hi n="1" rend="underline">dull</hi> – There is life and movement in the plot – story interests (I trust) and continual <hi n="1" rend="underline">bustle</hi> – The opening is of the most lively and varied description – The first Song of Guillaume one of joy and hope – Each of the duet which follows of the same description – The commencement of the finale to 1<hi rend="superscript">st</hi> Act – “<unclear reason="uncertain_reading" resp="FMBC">Garely</unclear> boys the tide is serving” should be light, <hi n="1" rend="underline">chantant</hi> and <hi n="1" rend="underline">characteristic</hi>.</p> <p>The opening of the second act is again of the most joyous description – The relieved garnison are positively wild with delight & triumph! – Portions of the concerted piece which succeed are also full of exaltation –</p> <p>In the third act there is very little music: but of that little<seg type="pagebreak"> |3|<pb n="3" type="pagebreak"></pb></seg> the “Victoria” chorus which commences and concludes the Finale is <hi n="1" rend="underline">Festal</hi> and <hi n="1" rend="underline">Joyous</hi> in the extreme! – and in the most serious portions of the whole work, if there is but <hi n="1" rend="underline">Melody</hi> depend upon if they will not think it <hi n="1" rend="underline">dull</hi>. – Audiences that have gone mad about “<title xml:id="title_f45eb40c-6464-454c-a27c-dbaa8dad4939">Der Freyschütz<name key="PSN0115645" style="hidden" type="author">Weber, Carl Maria Friedrich Ernst von (1786–1826)</name><name key="CRT0111243" style="hidden" type="music">Der Freischütz op. 77 (WeV C. 7)</name></title>" and bore “<title xml:id="title_eb82fac4-3037-4769-8ec3-678d379a5244">Guillaume Tell<name key="PSN0114299" style="hidden" type="author">Rossini, Gioachino Antonio (1792–1868)</name><name key="CRT0110579" style="hidden" type="music">Guillaume Tell</name></title>” <hi n="2" rend="underline">infamously</hi> <hi n="2" rend="underline">sung</hi> As it has been, are sufficiently enlightened to receive <hi n="2" rend="underline">first</hi> <hi n="2" rend="underline">rate</hi> <hi n="1" rend="underline">serious music</hi>, (as <hi n="1" rend="underline">yours</hi> I feel <hi n="1" rend="underline">will be</hi>), without requiring <hi n="1" rend="underline">comic relief</hi>. In my opinion there is <hi n="1" rend="underline">light</hi> and <hi n="1" rend="underline">shade</hi> enough in the picture, and you have it in your own power to increase either the brillancy or the darkness.</p> <p>I believe I mentioned to you in <title xml:id="title_53174010-5e73-4ad0-9234-da2bdd62a8da">my first letter <name key="PSN0113896" style="hidden" type="author">Planché, James Robinson (1796–1880)</name> <name key="gb-1838-01-31-03" style="hidden" type="letter">James Robinson Planché an Felix Mendelssohn Bartholdy in Leipzig; London, 31. Januar 1838</name> </title> the existence of a piece in some historical subject (<title xml:id="title_8478d271-61df-4541-96b6-554712789a30">“The Surrender of Calais” by George Colman<name key="PSN0110444" style="hidden" type="author">Colman, George d. J. (1762–1836)</name><name key="CRT0108458" style="hidden" type="dramatic_work">The Surrender of Calais</name></title> the younger before alluded to) and therefore continued you as to letting the subject of our escape. The title “<title xml:id="title_89c26ec6-4fed-44f2-9514-044b8fd05c52">The brothers<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>” although I am not in love with it – will for the prevent at least <gap quantity="1" reason="deletion" unit="words"></gap> <gap quantity="1" reason="deletion" unit="words"></gap> present anybody having a quest of the plot, which as I have before stated differs entirely from that of M<hi rend="superscript">r</hi> Colman’s drama. The latter has not been played for years and though of course it will be raked up again, whenever our Opera comes forward no resemblance will be found to exist between them further than the well known incident of the Surrender of the City and the six <gap quantity="1" reason="uncertain_reading" unit="words"></gap> <gap quantity="1" reason="deletion" unit="words"></gap> <add place="above">with<name key="PSN0113896" resp="writers_hand" style="hidden">Planché, James Robinson (1796–1880)</name></add> which of course the action must finish in both. Trusting that you are quite recovered and ready to begin the work like “a Giant refreshed” believe me</p> <signed rend="right">My dear Sir</signed> <signed rend="right">Yours sincerely</signed> <signed rend="right">J. R. Planché</signed> </div> <div n="2" type="act_of_writing" xml:id="div_a9a258bf-4c63-4042-8ad2-4fef34cdffbc"> <docAuthor key="PSN0113896" resp="author" style="hidden" xml:id="docAuthor_7e139309-da04-4a20-b74d-110ceb3f7d28">Planché, James Robinson (1796–1880)</docAuthor> <docAuthor key="PSN0113896" resp="writer" style="hidden" xml:id="docAuthor_1a1cc700-ca94-4323-ab3a-1912cceb3ade">Planché, James Robinson (1796–1880)</docAuthor> <p style="paragraph_without_indent">Can you not steam away from <placeName xml:id="placeName_43d4b620-5c49-434d-92fe-4ece8bf39509">Dusseldorf<settlement key="STM0100109" style="hidden" type="area">Düsseldorf</settlement><country style="hidden">Deutschland</country></placeName> for a day or two <placeName xml:id="placeName_375552a2-f986-466d-b259-2d0d716cbf09">in April or May<name key="NST0100734" style="hidden" subtype="" type="institution">21. Niederrheinisches Musikfest (1839)</name><settlement key="STM0100109" style="hidden" type="locality">Düsseldorf</settlement><country style="hidden">Deutschland</country></placeName>? It would be of <hi n="1" rend="underline">immense advantage</hi> to both of us – Repondez s’il vous plait.<note resp="FMBC" style="hidden" type="translation" xml:id="note_e4836d26-5d8d-4e10-9b89-108b3fa41729" xml:lang="fr ">Repondez s’il vous plait – frz., Antworten Sie bitte.</note></p> </div> </body> </text></TEI>