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Maschinenlesbare Übertragung der vollständigen Korrespondenz Felix Mendelssohn Bartholdys (FMB-C)
1 Doppelbl.: S. 1-3 Brieftext; S. 4 Adresse, 4 Poststempel [PAID / 13MY12 / 1839], [D.1 / 8/5], [LONDON / 13 / MAY / 1839], [FRANKFURT / 14 MAI / 1839], 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.
LondonMay 12 –
th1839
Felix Mendelssohn Bartholdy Esq
rPoste Restante
Frankfort on the Main
th1839
No words of mine can express the regret and surprise with which I received the information contained in
r
decline making” any alterations in the opera, as a reference to your own
rChappell will prove. In those letters, to which mine was a reply, you do not
requestme to make any alterations. You simply ask for “an impartial opinion” upon two points on which you are in doubt, and you put them in the form of questions thus. 1
stWhether an Opera so
thoroughlyserious without any
comicalor even
lightercharacter in it would do for an English Audience?” 2
ndly– (In reference to the existence of a theatrical piece on the same subject) “whether you should be right in writing the music”, to mine
th
the justice of my remarksis the question to which I most anxiously await your answer.” – Now my dear Sir, my letter was only written to satisfy your mind upon these doubts to answer your two questions by assuring you that an Opera “
thoroughlyserious”
woulddo for an English Audience who have quite changed their notions of taste upon this subject and invariably reprobate the introduction of comic parts in serious Operas, (witness the failure of
last weekat
Thus much for matters of opinion on which alones you desired information – Now for matters of fact – Although I naturally objected to make alterations if I could succeed in convincingfor the first time have done – that they are indispensable to your comfort and inspirationnumber and nature of the comic piece of Music you require and if I can by any means manage to introduce them be assured I will do so. – I put it to your good feeling both to me and Mr Chappell, (who must be a great sufferer by your relinquishing the task), to take a brighter view of the matter and to remember that (as you say) we are all equally interested in the success of the work and therefore we can have no reason for misleading you as to facts or for thwarting your wishes.
You have spoken most flatteringly of the two first acts – third – rendering him the agent of Gaultier in the misleading and detention of Guillaume be sufficient for your purpose? – What particular style of comic effect do you desire? – A joyous drinking song & a la Caspar? – Pray give me a hint on which I may work directly as it is no use my beginning to alter till I know more precisely what sort of alteration will be most satisfactory to you and believe me my dear Sir, with every sentiment of regard and respect.
I am anxious that the alterations should not involve lenght as that is the most fatal of all faults on one Stage.
20 Brompton Crescent near London May 12th 1839. My dear Sir,
No words of mine can express the regret and surprise with which I received the information contained in your letter of the 23rd ultimo . Immediately called on Mr Chappell (who, having paid me a considerable sum for the Opera is by your rejection if it placed in a most unlooked-for and disagreable position) to see what coud be done to prevent the heavy loss he must experience by your declining to compose the work: a decision which I am sure you must have come to from some misconstruction of my last letter. Unfortunately I did not keep a copy of that letter and am consequently unable at this distance of time to remember the exact expressions contained in it: but of its spirits I am fully aware and can assure you that nothing was further from my intention than positively to “decline making” any alterations in the opera, as a reference to your own letters of the 10th and 29th of last December to Mr Chappell will prove. In those letters, to which mine was a reply, you do not request me to make any alterations. You simply ask for “an impartial opinion” upon two points on which you are in doubt, and you put them in the form of questions thus. 1st Whether an Opera so thoroughly serious without any comical or even lighter character in it would do for an English Audience?” 2ndly – (In reference to the existence of a theatrical piece on the same subject) “whether you should be right in writing the music”, to mine and in your second letter of the 29th after recapitulating your doubts on the first point you say “whether & how that can be done (viz the introduction of comic relief) “if you admit the justice of my remarks is the question to which I most anxiously await your answer. ” – Now my dear Sir, my letter was only written to satisfy your mind upon these doubts to answer your two questions by assuring you that an Opera “thoroughly serious” would do for an English Audience who have quite changed their notions of taste upon this subject and invariably reprobate the introduction of comic parts in serious Operas, (witness the failure of Mr Rooke’s Opera of “Henrique” last week at Covent Garden in consequence of the attempt to weave comic with serious interests) and the great success in England of La Sonnambula; Anna Bolena, Il PuritaniMarino Faliero. Massaniello – Guillaume Tell The Red Mask The Jewess &c – all without a single comic situation or piece of music. ) and that the very Drama to which you allude on the same subject would if now produced run the risk of being damned for its comic characters alone. It is utterly worthly, and never played now aday’s and even if it were would have no more to do with an Opera than the performance of Ottel the Tragedy of Ottello has with Rossinis Opera of the same name or the Comedy of the Clandestine marriage with “Il Matrimonio Segreto”
Thus much for matters of opinion on which alones you desired information – Now for matters of fact – Although I naturally objected to make alterations if I could succeed in convincing you that your fears were unfounded – yet I by no means decline endeavouring to effect them when you say, as you now for the first time have done – that they are indispensable to your comfort and inspiration inspiration. Let me therefore beg of you to reconsider the subject and let me know as nearly as possible the number and nature of the comic piece of Music you require and if I can by any means manage to introduce them be assured I will do so. – I put it to your good feeling both to me and Mr Chappell, (who must be a great sufferer by your relinquishing the task), to take a brighter view of the matter and to remember that (as you say) we are all equally interested in the success of the work and therefore we can have no reason for misleading you as to facts or for thwarting your wishes.
You have spoken most flatteringly of the two first acts – Will making Marrant more prominent in the third – rendering him the agent of Gaultier in the misleading and detention of Guillaume be sufficient for your purpose? – What particular style of comic effect do you desire? – A joyous drinking song & a la Caspar? – Pray give me a hint on which I may work directly as it is no use my beginning to alter till I know more precisely what sort of alteration will be most satisfactory to you and believe me my dear Sir, with every sentiment of regard and respect.
Your sincere friend & admirer
J. R. Planché
I am anxious that the alterations should not involve lenght as that is the most fatal of all faults on one Stage.
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M.; London, 12. Mai 1839</title> <incipit>No words of mine can express the regret and surprise with which I received the information contained in your letter of the 23rd ultimo . Immediately called on Mr Chappell (who, having paid me a</incipit> </msItem> </msContents> <physDesc> <p>1 Doppelbl.: S. 1-3 Brieftext; S. 4 Adresse, 4 Poststempel [PAID / 13MY12 / 1839], [D.1 / 8/5], [LONDON / 13 / MAY / 1839], [FRANKFURT / 14 MAI / 1839], 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> <additional> <listBibl> <bibl type="printed_letter">Planché, Recollections and Reflections, Bd. 1, S. 297-299 (unter dem Datum 9. Mai 1839).</bibl> <bibl type="autographic_concept">2 Konzepte, US-Wc, Music Division, ML95.P615 (datiert 9. 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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="1839-05-12" xml:id="date_c8aa4579-246e-45ef-aff9-fe4fd638c6a5">12. Mai 1839</date> </creation> <correspDesc> <correspAction type="sent"> <persName key="PSN0113896" resp="author" xml:id="persName_83fd0a0f-9c7d-40b4-ac80-792bf36f1f77">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_0bfadd29-915f-4c37-93e1-573c3a74fadf"> <settlement key="STM0100126">London</settlement> <country>Großbritannien</country> </placeName> </correspAction> <correspAction type="received"> <persName key="PSN0000001" resp="receiver" xml:id="persName_ffff5f39-8b56-4fc8-9c73-13250efae8d6">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</persName> <placeName type="receiving_place" xml:id="placeName_9917f04d-e937-4f14-a066-c47aa00c70b8"> <settlement key="STM0100204">Frankfurt a. M.</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_9883ef13-dae7-4e58-8f55-4316279b2148"> <head> <address> <addrLine> <hi rend="latintype">London <date cert="high" when="1839-05-12" xml:id="date_5ff9be14-d8a8-4941-8eea-31cfb32edc98">May 12<hi rend="superscript">th</hi> 1839</date> –</hi> </addrLine> <addrLine> <hi rend="latintype">Felix Mendelssohn Bartholdy Esq<hi rend="superscript">r</hi></hi> </addrLine> <addrLine> <hi rend="latintype">Poste Restante</hi> </addrLine> <addrLine> <hi rend="latintype">Frankfort on the Main</hi> </addrLine> </address> </head> </div> <div n="1" type="act_of_writing" xml:id="div_6a6e7dbb-4e96-4f43-83d0-67790f096cf4"> <docAuthor key="PSN0113896" resp="author" style="hidden" xml:id="docAuthor_b2d2dd53-2691-4e65-8989-187ad387f519">Planché, James Robinson (1796–1880)</docAuthor> <docAuthor key="PSN0113896" resp="writer" style="hidden" xml:id="docAuthor_f57c5794-f46f-43a3-8d42-09a4472a26c2">Planché, James Robinson (1796–1880)</docAuthor> <dateline rend="right">20 Brompton Crescent</dateline> <dateline rend="right">near London</dateline> <dateline rend="right"><date cert="high" when="1839-05-12" xml:id="date_c1950f58-ad33-4423-8d57-fe2fed414bd3">May 12<hi rend="superscript">th</hi> 1839</date>.</dateline> <salute rend="left">My dear Sir,</salute> <p style="paragraph_without_indent">No words of mine can express the regret and surprise with which I received the information contained in <title xml:id="title_bdc47da9-de5e-4b75-9ad7-e8eb5255de0c">your letter of the 23<hi rend="superscript">rd</hi> ultimo <name key="PSN0000001" style="hidden" type="author">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</name><name key="fmb-1839-04-23-06" style="hidden" type="letter">Felix Mendelssohn Bartholdy an James Robinson Planché in London; Leipzig, 23. April 1839</name></title>. Immediately called on M<hi rend="superscript">r</hi> <persName xml:id="persName_184ff9c8-e720-4e19-8a8d-96b6b7b07d84">Chappell<name key="PSN0110349" style="hidden" type="person">Chappell, Frederick Patey (1817-1883)</name></persName> (who, having paid me a considerable sum for the <title xml:id="title_a5e469b4-018c-4892-b85b-2b32daefb968">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> is by your rejection if it placed in a most unlooked-for and disagreable position) to see what coud be done to prevent the heavy loss he must experience by your declining to compose the work: a decision which I am sure you must have come to from some misconstruction of my last letter. Unfortunately I did not keep a copy of that letter and am consequently unable at this distance of time to remember the exact expressions contained in it: but of its spirits I am fully aware and can assure you that nothing was further from my intention than positively to “<hi n="1" rend="underline">decline making</hi>” any alterations in the opera, as a reference to your own<title xml:id="title_96e7f2d8-1010-49e3-b53c-9dd5d5178727"> letters of the 10<hi rend="superscript">th</hi><name key="PSN0000001" style="hidden" type="author">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</name><name key="fmb-1838-12-10-02" style="hidden" type="letter">Felix Mendelssohn Bartholdy an William Chappell in London; Leipzig, 10. Dezember 1838</name></title> and <title xml:id="title_9ff91709-a8e5-45d2-acdb-0b29d1571d9c">29<hi rend="superscript">th</hi> of last December <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> to M<hi rend="superscript">r</hi> Chappell will prove. In those letters, to which mine was a reply, you do not <hi n="1" rend="underline">request</hi> me to make any alterations. You simply ask for “an impartial opinion” upon two points on which you are in doubt, and you put them in the form of questions thus. 1<hi rend="superscript">st</hi> Whether an Opera so <hi n="1" rend="underline">thoroughly</hi> serious without any <hi n="1" rend="underline">comical</hi> or even <hi n="1" rend="underline">lighter</hi> character in it would do for an English Audience?” 2<hi rend="superscript">ndly</hi> – (In reference to the existence of a theatrical piece on the same subject) “whether you should be right in writing the music”, to mine<seg type="pagebreak"> |2|<pb n="2" type="pagebreak"></pb></seg> and in your second letter of the<date cert="high" when="1838-12-29" xml:id="date_61cbd6aa-f4e7-49e9-b9d5-19a6479e4e05"> 29<hi rend="superscript">th</hi></date> after recapitulating your doubts on the first point you say “whether & how that can be done (viz the introduction of comic relief) “if you admit <hi n="1" rend="underline">the justice of my remarks</hi> is the question to which I most anxiously await your answer.” – Now my dear Sir, my letter was only written to satisfy your mind upon these doubts to answer your two questions by assuring you that an Opera “<hi n="1" rend="underline">thoroughly</hi> serious” <hi n="1" rend="underline">would</hi> do for an English Audience who have quite changed their notions of taste upon this subject and invariably reprobate the introduction of comic parts in serious Operas, (witness the failure of <title xml:id="title_52aaf959-bec6-4dda-8b49-1fa6b1bf65ff">M<hi rend="superscript">r</hi> Rooke’s Opera of “Henrique<name key="PSN0119153" style="hidden" type="author">Rooke, William Michael (1794–1847)</name><name key="CRT0112587" style="hidden" type="dramatic_work">Henrique, or The love-pilgrim</name></title>” <hi n="1" rend="underline">last week</hi> at <placeName xml:id="placeName_ec171f50-dac9-45e0-9967-8c9b6de8f826">Covent Garden<name key="NST0100286" style="hidden" subtype="" type="institution">Royal Opera House Covent Garden</name><settlement key="STM0100126" style="hidden" type="locality">London</settlement><country style="hidden">Großbritannien</country></placeName> in consequence of the attempt to weave comic with serious interests) and the great success in England of <title xml:id="title_ff88a776-5186-4020-9404-369bfd17a7ff">La Sonnambula<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>; <title xml:id="title_6b270db7-a886-4a6a-95cd-6c4408ea86bf">Anna Bolena<name key="PSN0110705" style="hidden" type="author">Donizetti, Domenico Gaetano Maria (1797–1848)</name><name key="CRT0108578" style="hidden" type="music">Anna Bolena</name></title>, <title xml:id="title_40e9c32c-6919-4b8e-a6ff-bd91ebf429ef">Il Puritani<name key="PSN0109794" style="hidden" type="author">Bellini, Vincenzo Salvatore Carmelo Francesco (1801–1835)</name><name key="CRT0108118" style="hidden" type="music">I puritani</name></title><title xml:id="title_79d650eb-e9b6-410e-b4be-cc4121cef3f7">Marino Faliero<name key="PSN0110705" style="hidden" type="author">Donizetti, Domenico Gaetano Maria (1797–1848)</name><name key="CRT0111832" style="hidden" type="music">Marino Faliero</name></title>. <title xml:id="title_3f287a31-3874-475b-9476-d3a181a389eb">Massaniello<name key="PSN0109578" style="hidden" type="author">Auber, Daniel-François-Esprit (1782–1871)</name><name key="CRT0107680" style="hidden" type="music">La Muette de Portici (auch: Masaniello) AWV 16</name></title> – <title xml:id="title_c2a58134-572b-4aa1-9dcd-e6f7dab3f9da">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> <title xml:id="title_f1819a7e-61bc-4af1-b90c-cebb5a846e8b">The Red Mask<name key="PSN0113896" style="hidden" type="author">Planché, James Robinson (1796–1880)</name><name key="CRT0112589" style="hidden" type="music">The Red Mask</name></title> <title xml:id="title_555dee9c-3b4e-43ba-9fa2-f7fa3a6df962">The Jewess<name key="PSN0111677" style="hidden" type="author">Halévy, Jacques François Fromental Élie (Fromentin Elias) (1799–1862)</name><name key="CRT0108937" style="hidden" type="music">La Juive (Die Jüdin)</name></title> &c – all without a single comic situation or piece of music.) and that the very Drama to which you allude on the same subject would if now produced run the risk of being damned for its comic characters alone. It is utterly worthly, and never played now aday’s and even if it were would have no more to do with an Opera than the performance of <unclear reason="deletion" resp="FMBC">Ottel</unclear> the <title xml:id="title_eb559719-e6d6-45b4-b531-21e9a889f87f">Tragedy of Ottello<name key="PSN0114889" style="hidden" type="author">Shakespeare, William (1564–1616)</name><name key="CRT0110868" style="hidden" type="dramatic_work">Othello (The Tragœdy of Othello, the Moor of Venice)</name></title> has with <title xml:id="title_03be896d-36b1-41ed-99c0-4a02cdd2d361">Rossinis Opera of the same name<name key="PSN0114299" style="hidden" type="author">Rossini, Gioachino Antonio (1792–1868)</name><name key="CRT0110586" style="hidden" type="music">Otello ossia Il Moro di Venezia</name></title> or the <title xml:id="title_8e5cd113-b2b0-4e86-b59f-afbbca9b1748">Comedy of the Clandestine marriage<name key="PSN0119869" style="hidden" type="author">Colman, George (1732–1794)</name><name key="CRT0112591" style="hidden" type="dramatic_work">The clandestine marriage: a comedy</name></title> with “<title xml:id="title_5025160d-98a7-4f35-aeed-c5319dfcee7c">Il Matrimonio Segreto<name key="PSN0110395" style="hidden" type="author">Cimarosa, Domenico Nicola (1749–1801)</name><name key="CRT0108445" style="hidden" type="music">Il matrimonio segreto</name></title>”</p> <p>Thus much for matters of opinion on which alones you desired information – Now for matters of fact – Although I naturally objected to make alterations if I could succeed in convincing<seg type="pagebreak"> |3|<pb n="3" type="pagebreak"></pb></seg> you that your fears were unfounded – yet I by no means decline endeavouring to effect them when you say, as you now <hi n="1" rend="underline">for the first</hi> time have done – that they are indispensable to your comfort and inspiration<unclear reason="deletion" resp="FMBC"></unclear> inspiration. Let me therefore beg of you to reconsider the subject and let me know as nearly as possible the <hi n="1" rend="underline">number</hi> and <hi n="1" rend="underline">nature</hi> of the comic piece of Music you require and if I can by any means manage to introduce them be assured I will do so. – I put it to your good feeling both to me and M<hi rend="superscript">r</hi> Chappell, (who must be a great sufferer by your relinquishing the task), to take a brighter view of the matter and to remember that (as you say) we are all equally interested in the success of the work and therefore we can have no reason for misleading you as to facts or for thwarting your wishes.</p> <p>You have spoken most flatteringly of the two first acts – <unclear reason="seal_tear-off" resp="FMBC">Will</unclear> making Marrant more prominent in the <hi n="1" rend="underline">third</hi> – rendering him the agent of Gaultier in the misleading and detention of Guillaume be sufficient for your purpose? – What particular style of comic effect do you desire? – A joyous drinking song & a la Caspar? – Pray give me a hint on which I may work directly as it is no use my beginning to alter till I know more precisely what sort of alteration will be most satisfactory to you and believe me my dear Sir, with every sentiment of regard and respect.</p> <signed rend="center">Your sincere friend & admirer</signed> <signed rend="right">J. R. Planché</signed> </div> <div n="2" type="act_of_writing" xml:id="div_865b487d-d3c8-44d1-ba0d-4f1cb5bf009d"> <docAuthor key="PSN0113896" resp="author" style="hidden" xml:id="docAuthor_1bafb4fc-72c6-4653-bc66-7847caf48364">Planché, James Robinson (1796–1880)</docAuthor> <docAuthor key="PSN0113896" resp="writer" style="hidden" xml:id="docAuthor_7955f667-18ba-47ff-b43a-e3b19d0760c8">Planché, James Robinson (1796–1880)</docAuthor> <p style="paragraph_without_indent">I am anxious that the alterations should not involve <hi n="1" rend="underline">lenght</hi> as that is the most fatal of all faults on one Stage.</p> </div> </body> </text></TEI>