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William Sterndale Bennett an Felix Mendelssohn Bartholdy in Düsseldorf <lb/>London, 23. Mai 1839 Excuse my delay in the answer to your letter dates “Leipzig 3rd April” – I could not before this arrange any meeting with Mr Anderson in consequence of his business and his wife’s Concert – Felix Mendelssohn Bartholdy Correspondence Online (FMB-C) Felix Mendelssohn Bartholdy an William Sterndale Bennett in London, adressiert an Coventry & Hollier; Leipzig, 3. April 1839<a xmlns="http://www.w3.org/1999/xhtml" href="/brief-zwei-spalten/fmb-1839-04-03-01/gb-1839-05-23-01" target="_blank">Brief - fmb-1839-04-03-01</a> Felix Mendelssohn Bartholdy an William Sterndale Bennett in London; Leipzig, 17. Oktober 1839<a xmlns="http://www.w3.org/1999/xhtml" href="/brief-zwei-spalten/gb-1839-05-23-01/fmb-1839-10-17-01" target="_blank">Brief - fmb-1839-10-17-01</a> Bennett, (seit 1871) Sir William Sterndale (1816-1875)Bennett, (seit 1871) Sir William Sterndale (1816-1875) Transkription: FMB-C Edition: FMB-C Felix Mendelssohn Bartholdy Correspondence Online-Ausgabe (FMB-C). Institut für Musikwissenschaft und Medienwissenschaft. Humboldt-Universität zu Berlin
Am Kupfergraben 5 10117 Berlin Deutschland
http://www.mendelssohn-online.com Creative Commons Attribution 4.0 International (CC BY 4.0)

Maschinenlesbare Übertragung der vollständigen Korrespondenz Felix Mendelssohn Bartholdys (FMB-C)

 Großbritannien Oxford GB-Ob Oxford, Bodleian Library Music Section M.D.M. d. 35/175. Autograph William Sterndale Bennett an Felix Mendelssohn Bartholdy in Düsseldorf; London, 23. Mai 1839 Excuse my delay in the answer to your letter dates “Leipzig 3rd April” – I could not before this arrange any meeting with Mr Anderson in consequence of his business and his wife’s Concert –

1 Doppelbl.: S. 1-4 Brieftext; S. 4 Adresse, 1 Poststempel [D. 1 / 30 5 (?)], Siegel. – Das zweite Blatt wurde zur Hälfte beschnitten, so dass der darauf befindliche Brieftext und Teile der Adresse fehlen. Der Brief ist vollständig in lateinischen Buchstaben geschrieben.

William Sterndale Bennett.

Green Books

 Bennett, Mendelssohn als Herausgeber Händelscher Werke, S. 51 f.

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.

 23. Mai 1839 Bennett, (seit 1871) Sir William Sterndale (1816-1875)Bennett, (seit 1871) Sir William Sterndale (1816–1875) LondonGroßbritannien Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847) DüsseldorfDeutschland englisch
[....] Musikdirector [....] Mendelssohn Bartholdy Düsseldorf Post. Rest. Frankfurt am Rhein Main Unbekannt
Bennett, (seit 1871) Sir William Sterndale (1816–1875) Bennett, (seit 1871) Sir William Sterndale (1816–1875) London. May 23rd 1839 My Dear Friend

Excuse my delay in the answer to your letter <name key="PSN0000001" style="hidden" type="author">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</name> <name key="fmb-1839-04-03-01" style="hidden" type="letter">Felix Mendelssohn Bartholdy an William Sterndale Bennett in London, adressiert an Coventry & Hollier; Leipzig, 3. April 1839</name> dates “Leipzig 3rd April” – I could not before this arrange any meeting with Mr AndersonAnderson, George Frederick (1793-1876) in consequence of his business and his wife’sAnderson, Lucy (1790-1878) Concert – he has been very kind and given me this Evening a look at the original score of Samson<name key="PSN0111693" style="hidden" type="author">Händel, Georg Friedrich (1685–1759)</name><name key="CRT0109014" style="hidden" type="music">Samson HWV 57</name>, which view only showed me that all your questions cannot be answered without a long and attentive perusal of the Manuscript. I have arranged to see the score for an hour or two on Saturday, but in the mean time, thought it better to write to you, lest you might think I had neglected your commission – All your queries shall be strictly answered in my next letter and even in this I may be able to mention two or three things which may serve for reflection, & [....] I think I shall [....] have to write my next letter on Music Paper. |2| Before I go any farther, remember I am not writing now an answer to your letter – for that shall be done quite in order accordingly to the question you put to me –

Here are other editions of Handel besides Arnold<name key="PSN0109541" style="hidden" type="author">Arnold, Samuel (1740–1802)</name><name key="CRT0107656" style="hidden" type="music">The Works of Handel, In Score; Correct, Uniform, and Complete (Herausgabe)</name>, for instance Walsh<name key="PSN0115618" style="hidden" type="author">Walsh, John jun. (1709–1766)</name><name key="CRT0112087" style="hidden" type="music">Georg Friedrich Händel, Werkausgaben</name> – (who published nearly all his Compositions) and I believe one which people call Smith’s edition[→]call Smith’s edition – Georg Friedrich Händel vererbte John Christopher Smith (1712-1795) seine Partituren, auf dessen Grundlage die Arnold- und Walsh-Editionen entstanden. and which Arnold’sArnold, Samuel (1740-1802) was printed from – Walsh’sWalsh, John jun. (1709-1766)Walsh, John sen. (1665-1736) plates are in theBennett, (seit 1871) Sir William Sterndale (1816–1875) possession of several different people and amongst others, my friends Coventry & HollierCoventry & Hollier, Musikverlag in London have some – but I think not Samson<name key="PSN0111693" style="hidden" type="author">Händel, Georg Friedrich (1685–1759)</name><name key="CRT0109014" style="hidden" type="music">Samson HWV 57</name> – The aforesaid SmithSmith, John Christopher jun. (eigtl. Johann Christoph Schmidt) (1712-1795) was (as most likely you know) the Amanuensis[→]Amanuensis – Sekretär, Kopist, Schreibgehilfe. of HandelHändel, Georg Friedrich (1685-1759) & most probably made a great deal of the Bezifferung for him, but this I will find out for a certainty with regard to the two dead Marches – the first (in C) beginning [→]

Noten: GB-Ob, M.D.M. d. 35/175, fol. 1r.Notennotat des Todesmarsches aus dem dritten Akt von Georg Friedrich Händels Oratorium Saul HWV 53.
is generally known in England as the dead March in Saul<name key="PSN0111693" style="hidden" type="author">Händel, Georg Friedrich (1685–1759)</name><name key="CRT0109015" style="hidden" type="music">Saul HWV 53</name>[→]the dead March in Saul – Der Totenmarsch aus dem dritten Akt in Händels Oratorium »Saul« ist einer der bekanntesten Trauermärsche der klassischen Musik. Der Marsch, der die Bestattungsriten von Saul und Jonathan im Oratorium einleitet, wurde für die Staatsbegräbnisse von Lord Nelson, dem Herzog von Wellington übernommen. Beethoven plante sogar eine Reihe von Variationen über den Marsch für volles Orchester, vollendete sie aber nie. and is not [....] to be found in the original Score of Samson, at least as for as I looked this Evening. |3| Now once more do not take this as an Answer to your letter, for I will place your questions (in my next letter) on one side of the Sheet of paper and my Answers on the others – I shall most likely find out several other things to tell you – & I hope to be of assistence to you in your undertaking which is very noble in you and praiseworthy in the Publishers now a little domestic, I did hope to see you at Düsseldorf21. Niederrheinisches Musikfest (1839)DüsseldorfDeutschland but I really was too [....]

I direct this (as you said till the end of May) to DüsseldorfDüsseldorfDeutschland – will you be so good not to call me Mr Bennett in your next letter? – If I had a Father or a Brother he would not do so x [....]

 
            London. May 23rd 1839 My Dear Friend
Excuse my delay in the answer to your letter dates “Leipzig 3rd April” – I could not before this arrange any meeting with Mr Anderson in consequence of his business and his wife’s Concert – he has been very kind and given me this Evening a look at the original score of Samson, which view only showed me that all your questions cannot be answered without a long and attentive perusal of the Manuscript. I have arranged to see the score for an hour or two on Saturday, but in the mean time, thought it better to write to you, lest you might think I had neglected your commission – All your queries shall be strictly answered in my next letter and even in this I may be able to mention two or three things which may serve for reflection, & I think I shall have to write my next letter on Music Paper. Before I go any farther, remember I am not writing now an answer to your letter – for that shall be done quite in order accordingly to the question you put to me –
Here are other editions of Handel besides Arnold, for instance Walsh – (who published nearly all his Compositions) and I believe one which people call Smith’s edition and which Arnold’s was printed from – Walsh’s plates are in the possession of several different people and amongst others, my friends Coventry & Hollier have some – but I think not Samson – The aforesaid Smith was (as most likely you know) the Amanuensis of Handel & most probably made a great deal of the Bezifferung for him, but this I will find out for a certainty with regard to the two dead Marches – the first (in C) beginning is generally known in England as the dead March in Saul and is not to be found in the original Score of Samson, at least as for as I looked this Evening. Now once more do not take this as an Answer to your letter, for I will place your questions (in my next letter) on one side of the Sheet of paper and my Answers on the others – I shall most likely find out several other things to tell you – & I hope to be of assistence to you in your undertaking which is very noble in you and praiseworthy in the Publishers now a little domestic, I did hope to see you at Düsseldorf but I really was too
I direct this (as you said till the end of May) to Düsseldorf – will you be so good not to call me Mr Bennett in your next letter? – If I had a Father or a Brother he would not do so x          
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April 1839</name> </title> dates “Leipzig 3<hi rend="superscript">rd</hi> April” – I could not before this arrange any meeting with <persName xml:id="persName_357da318-f37f-47f1-8b99-b7481cb1d684">M<hi rend="superscript">r</hi> Anderson<name key="PSN0109480" style="hidden" type="person">Anderson, George Frederick (1793-1876)</name></persName> in consequence of <hi n="1" rend="underline">his</hi> business and his <hi n="1" rend="underline"><persName xml:id="persName_b0a6f795-d21e-46a6-8021-a3909880fbf8">wife’s<name key="PSN0109481" style="hidden" type="person">Anderson, Lucy (1790-1878)</name></persName></hi> Concert – he has been very kind and given me this Evening a look at the original score of <title xml:id="title_ee045c5e-1a5c-4607-97c5-c7b7c5c81a65">Samson<name key="PSN0111693" style="hidden" type="author">Händel, Georg Friedrich (1685–1759)</name><name key="CRT0109014" style="hidden" type="music">Samson HWV 57</name></title>, which view only showed me that all your questions cannot be answered without a long and attentive perusal of the Manuscript. I have arranged to see the score for an hour or two on <date cert="high" when="1839-05-25" xml:id="date_88d2f60a-aaab-479a-a43b-d1637aae8ecf">Saturday</date>, but in the mean time, thought it better to write to you, lest you might think I had neglected your commission – All your queries shall be strictly answered in my next letter and even in this I may be able to mention two or three things which may serve for reflection, &amp; <gap quantity="2" reason="deletion" unit="words"></gap> I think I shall <gap quantity="2" reason="deletion" unit="characters"></gap> have to write my next letter on Music Paper.<seg type="pagebreak"> |2|<pb n="2" type="pagebreak"></pb></seg> Before I go any farther, remember I am not writing now an answer to your letter – for that shall be done quite in order accordingly to the question you put to me – </p> <p>Here are other editions of Handel besides <title xml:id="title_be66a740-2526-417e-b583-8ae27a4d43b1">Arnold<name key="PSN0109541" style="hidden" type="author">Arnold, Samuel (1740–1802)</name><name key="CRT0107656" style="hidden" type="music">The Works of Handel, In Score; Correct, Uniform, and Complete (Herausgabe)</name></title>, for instance <hi n="1" rend="underline"><title xml:id="title_1cc7c857-33e2-41a0-b9b1-c5dfa95f4cd2">Walsh<name key="PSN0115618" style="hidden" type="author">Walsh, John jun. (1709–1766)</name><name key="CRT0112087" style="hidden" type="music">Georg Friedrich Händel, Werkausgaben</name></title></hi> – (who published nearly all his Compositions) and I believe one which people call <hi n="1" rend="underline">Smith’s edition</hi><note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_bd57b9f8-3479-4e08-9e1f-5c9771737d9c" xml:lang="en">call Smith’s edition – Georg Friedrich Händel vererbte John Christopher Smith (1712-1795) seine Partituren, auf dessen Grundlage die Arnold- und Walsh-Editionen entstanden.</note> and which <persName xml:id="persName_9b0548ca-e8fc-4faa-8cd1-427ce4a54420">Arnold’s<name key="PSN0109541" style="hidden" type="person">Arnold, Samuel (1740-1802)</name></persName> was printed from – <persName xml:id="persName_ce82e453-78ab-4fad-bb56-412c28076ae3">Walsh’s<name key="PSN0115618" style="hidden" type="person">Walsh, John jun. (1709-1766)</name><name key="PSN0119368" style="hidden" type="person">Walsh, John sen. (1665-1736)</name></persName> <hi n="1" rend="underline">plates</hi> are in <add place="above">the<name key="PSN0109864" resp="writers_hand" style="hidden">Bennett, (seit 1871) Sir William Sterndale (1816–1875)</name></add> possession of several different people and amongst others, my friends <persName xml:id="persName_0635a025-ca0d-46a1-afe0-65045ddfacbf">Coventry &amp; Hollier<name key="PSN0110482" style="hidden" type="person">Coventry &amp; Hollier, Musikverlag in London</name></persName> have some – but I think not <hi n="1" rend="underline"><title xml:id="title_7595388b-15e3-426e-b906-abe0cf2714f2">Samson<name key="PSN0111693" style="hidden" type="author">Händel, Georg Friedrich (1685–1759)</name><name key="CRT0109014" style="hidden" type="music">Samson HWV 57</name></title></hi> – The aforesaid <persName xml:id="persName_1f7a20b7-ce1b-4626-b846-28768e91cfd4">Smith<name key="PSN0114948" style="hidden" type="person">Smith, John Christopher jun. (eigtl. Johann Christoph Schmidt) (1712-1795)</name></persName> was (as most likely you know) the Amanuensis<note resp="FMBC" style="hidden" type="word_description" xml:id="note_b7102e81-f5dc-4630-a5e4-51f8a6d6559e" xml:lang="la ">Amanuensis – Sekretär, Kopist, Schreibgehilfe.</note> of <persName xml:id="persName_0e1b5cd9-a17c-49ee-ba75-e976ed40168a">Handel<name key="PSN0111693" style="hidden" type="person">Händel, Georg Friedrich (1685-1759)</name></persName> &amp; most probably made a great deal of the <hi n="1" rend="underline">Bezifferung</hi> for him, but this I will find out for a certainty with regard to the <hi n="1" rend="underline">two dead Marches</hi> – the first (in C) beginning <figure rend="inline_big_size" style="center" subtype="quarter_page" type="notated_Music" xml:id="figure_d416a406-0b3c-4575-902e-5d8a64f2bf9e"><graphic url="https://www.felix-mendelssohn-bartholdy.org/_api/letters/letter_image/Noten/gb-1839-05-23-01-N-001.jpg"></graphic><head style="display_none">Noten: GB-Ob, M.D.M. d. 35/175, fol. 1r.</head><figDesc style="display_none">Notennotat des Todesmarsches aus dem dritten Akt von Georg Friedrich Händels Oratorium Saul HWV 53. </figDesc></figure> is generally known in England as the dead March in <hi n="1" rend="underline"><title xml:id="title_c2977e3c-4c01-4db8-aa61-313620eddcb4">Saul<name key="PSN0111693" style="hidden" type="author">Händel, Georg Friedrich (1685–1759)</name><name key="CRT0109015" style="hidden" type="music">Saul HWV 53</name></title></hi><note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_5d816f6b-a009-408c-84ad-2c91c0459168" xml:lang="en">the dead March in Saul – Der Totenmarsch aus dem dritten Akt in Händels Oratorium »Saul« ist einer der bekanntesten Trauermärsche der klassischen Musik. Der Marsch, der die Bestattungsriten von Saul und Jonathan im Oratorium einleitet, wurde für die Staatsbegräbnisse von Lord Nelson, dem Herzog von Wellington übernommen. Beethoven plante sogar eine Reihe von Variationen über den Marsch für volles Orchester, vollendete sie aber nie.</note> <hi n="1" rend="underline">and is not <gap quantity="1" reason="deletion" unit="words"></gap> to be found in the original Score of Samson</hi>, at least as for as I looked this Evening.<seg type="pagebreak"> |3|<pb n="3" type="pagebreak"></pb></seg> Now once more do not take this as an Answer to your letter, for I will place <hi n="1" rend="underline">your questions</hi> (in my next letter) on one side of the Sheet of paper and <hi n="1" rend="underline">my Answers</hi> on the others – I shall most likely find out several other things to tell you – &amp; I hope to be of assistence to you in your undertaking which is very noble in you and praiseworthy in the Publishers <hi n="1" rend="underline">now a little domestic</hi>, I did hope to see you at <placeName xml:id="placeName_ee39156c-9f43-4155-ad62-0e7001eca169">Düsseldorf<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> but I really was too <gap quantity="1/2" reason="paper_destruction" unit="pages"></gap></p> <p>I direct this (as you said till the end of May) to <placeName xml:id="placeName_5f398ac5-ddb7-4b15-8252-93cd5be76929">Düsseldorf<settlement key="STM0100109" style="hidden" type="locality">Düsseldorf</settlement><country style="hidden">Deutschland</country></placeName> – will you be so good not to call me <hi n="1" rend="underline">M<hi rend="superscript">r</hi></hi> Bennett in your next letter? – If I had a <hi n="1" rend="underline">Father or a Brother</hi> he would not do so x <gap quantity="1/2" reason="paper_destruction" unit="pages"></gap></p> </div> </body> </text></TEI>