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Maschinenlesbare Übertragung der vollständigen Korrespondenz Felix Mendelssohn Bartholdys (FMB-C)
1 Doppelbl.: S. 1-4 Brieftext; S. 4 Adresse, 4 Poststempel [?], [PAID / VS 29 JU29 / 1839], [LONDON / 29 / JUN / 1839], [LONDON / 1 / JUL / 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.
Felix Mendelssohn Bartholdy Esq
rFrankfort am Main
Poste restante
th1839
I have just received your
thisif I can manage to please you in the conduct of the Plot most of the lyrical pieces may be allowed to stand. To lose no time therefore I have requested
rChappell
youwould be kind enough to take the Opera
sceneby
sceneand tell me
exactlywhere the alteration should commence and of what nature it should be.
I will suppose for instance that you have no objection to the opening Chorus etc. – the arrival of the Queen and the introduction of Gaultier. In that case I gather from historical. (The annecdot is in Avesbury) and ndlyd act because that part of the denouement ist so notorious that you cannot mislead the audience into any supposition that he will act otherwise, by representing him of a more cruel or passionate disposition in the first act.
It is only the incidents that lead to it that can be new to the audience, do what you will with it; and surely when you desire characteristic situation you would not make Edward do that which would be anything but characteristic. Magnanimity and high chivalric feeling being the grand historical features of that monarch’s character. And say nothing about the facts that my object has been to work in every incident mentioned by the chroniclers of the period and that this particular is highly dramatic. Edward permitting the poor creatures who were turned out of Calais to pass safely through his lines and giving them also food and money is another instance of his magnanimity on record and mixed up with the plot of the Opera. You seem to think that on the second pardon depends the whole Opera – my notion was very different. I conthe ground upon which it is worked. According indeed to your own words in your first letter where you say “the dark figure of Cardinal Mazarin forms a back ground to the “Deux Journees” but it could be more prominent still.” Ad is my Cardinal Mazarin – and I have tried to render him more prominent – but that is all.
The loves of two Brothersnobility of not as you say “in favor of a brother whom he hardly knows” but to ensure the happiness of the woman he adores by saving the life of a favored rival at the expense of his own. – The greatest proof of love which any man could give!) – The struggles between love; duty and gratitude in the breast of Blanche – the doubt as to the real intentions of Gaultier. – These are the points on which I think the cadre” altogether away – these are the situations which I thought characteristic – If I have failed in execution or in making them clear to you – (as your widely different view of Gaultiers motive above mentioned makes me think must be the case) I must endeavour to remedy the evil: but at the same time I must in this way point out to you what my intentions were. With regard to the way in which the detention of Guillaume is managed in the 3d act. – I do not like it myself: and shall be most happy to alter it: but to keep up the interest of the piece it still must be done without the audience – or at least without the other characters being aware of Gaultiers object. – He must be considered as intending to make away with his rival – not to save him. However let us settle the first act and something may arise out of our alterations which may help us.
You will not I am sure misconstrue my motives in defending my view of the plot as it is only by this sort of discussion of the disputed points, that we shall be able to come to a clear understanding. It will be a long business – but I hope satisfactory in the end as I trust you will meet me in the same spirit and allow for my feelings
20 Brompton Crescent June 27th 1839. My dear Sir,
I have just received your letter of the 17th instant and without hesitation accept your proposal of reconstructing the Opera of “the Brothers”, as I am determined that no objection of mine shall cause you to decline the work if there is a possibility of meeting your wishes and I prefer remodelling the present Opera to writing one on another subject, for two reasons. In the first place it would be some time perhaps before I could find another story so completely combining all the elements for the particular style of Opera you described to me in your first letter and secondly I feel that could I find one directly, the same difficulties might arise and I should in addition have to compose every portion of the poetry, whilst in this if I can manage to please you in the conduct of the Plot most of the lyrical pieces may be allowed to stand. To lose no time therefore I have requested Mr Chappell to send you back the copy of the Opera as I have the original and can therefore refer to any alteration you may propose: for the best way would be, if you would be kind enough to take the Opera scene by scene and tell me exactly where the alteration should commence and of what nature it should be.
I will suppose for instance that you have no objection to the opening Chorus etc. – the arrival of the Queen and the introduction of Gaultier. In that case I gather from you last letter that your first objection is to the King’s magnanimity in pardoning Gaultier etc. as in some measure tending to weaken the effect to the last act. Now before you decide upon this point allow me to show you my reasons for having so arranged it. In the first place the circumstance of Edward’s giving a safe-conduct to the bearer of the intercepted letter is historical. (The annecdot is in Avesbury) and 2ndly I do not see how it weakens the effect of the pardon in the 3d act because that part of the denouement ist so notorious that you cannot mislead the audience into any supposition that he will act otherwise, by representing him of a more cruel or passionate disposition in the first act.
It is only the incidents that lead to it that can be new to the audience, do what you will with it; and surely when you desire characteristic situation you would not make Edward do that which would be anything but characteristic. Magnanimity and high chivalric feeling being the grand historical features of that monarch’s character. And say nothing about the facts that my object has been to work in every incident mentioned by the chroniclers of the period and that this particular is highly dramatic. Edward permitting the poor creatures who were turned out of Calais to pass safely through his lines and giving them also food and money is another instance of his magnanimity on record and mixed up with the plot of the Opera. You seem to think that on the second pardon depends the whole Opera – my notion was very different. I conceived the Opera depended upon the story of the two Brothers. The portion being merely the ground upon which it is worked. According indeed to your own words in your first letter where you say “the dark figure of Cardinal Mazarin forms a back ground to the “Deux Journees” but it could be more prominent still. ” Also Edward 3d is my Cardinal Mazarin – and I have tried to render him more prominent – but that is all.
The loves of two Brothers for the same Lady. The nobility of his Father’s blood shining through the illegitimate Burgess. – “His heroical deed” – (not as you say “in favor of a brother whom he hardly knows” but to ensure the happiness of the woman he adores by saving the life of a favored rival at the expense of his own. – The greatest proof of love which any man could give!) – The struggles between love; duty and gratitude in the breast of Blanche – the doubt as to the real intentions of Gaultier. – These are the points on which I think the flesh of the Opera depends and which would be strong enough to sustain it were we to cast the historical “cadre” altogether away – these are the situations which I thought characteristic – If I have failed in execution or in making them clear to you – (as your widely different view of Gaultiers motive above mentioned makes me think must be the case) I must endeavour to remedy the evil: but at the same time I must in this way point out to you what my intentions were. With regard to the way in which the detention of Guillaume is managed in the 3d act. – I do not like it myself: and shall be most happy to alter it: but to keep up the interest of the piece it still must be done without the audience – or at least without the other characters being aware of Gaultiers object. – He must be considered as intending to make away with his rival – not to save him. However let us settle the first act and something may arise out of our alterations which may help us.
You will not I am sure misconstrue my motives in defending my view of the plot as it is only by this sort of discussion of the disputed points, that we shall be able to come to a clear understanding. It will be a long business – but I hope satisfactory in the end as I trust you will meet me in the same spirit and allow for my feelings and prejudices as I am willing to do for you.
Ever, my dear Sir Yours truly
J. R. Planché
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M.; London, 27. Juni 1839</title> <incipit>I have just received your letter of the 17th instant and without hesitation accept your proposal of reconstructing the Opera of “the Brothers”, as I am determined that no objection of mine shall cause you</incipit> </msItem> </msContents> <physDesc> <p>1 Doppelbl.: S. 1-4 Brieftext; S. 4 Adresse, 4 Poststempel [?], [PAID / VS 29 JU29 / 1839], [LONDON / 29 / JUN / 1839], [LONDON / 1 / JUL / 1839], 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="1839-06-27" xml:id="date_d1283204-4669-420e-b222-9bf51702c3de">27. Juni 1839</date></creation> <correspDesc> <correspAction type="sent"> <persName key="PSN0113896" resp="author" xml:id="persName_221ef0f6-dcad-4794-8bd6-330e1d5ae5fa">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_c8ad9b72-79c6-42b4-bbb2-7b7713ebe5ca"> <settlement key="STM0100126">London</settlement><country>Großbritannien</country> </placeName> </correspAction> <correspAction type="received"> <persName key="PSN0000001" resp="receiver" xml:id="persName_9d744090-06a4-4c8f-9c84-9c5f30f79fa6">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</persName> <placeName type="receiving_place" xml:id="placeName_25c10b57-a628-4bf3-9b72-0a6ad0b26382"> <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_a12b6f4b-23ed-4673-b6c0-30a9759f0973"> <head> <address> <addrLine><hi rend="latintype">Felix Mendelssohn Bartholdy Esq<hi rend="superscript">r</hi></hi></addrLine> <addrLine><hi rend="latintype">Frankfort am Main</hi></addrLine> <addrLine><hi rend="latintype">Poste restante</hi></addrLine> </address> </head> </div> <div n="1" type="act_of_writing" xml:id="div_2d39f09a-be53-4a14-934b-46f998c95b0c"> <docAuthor key="PSN0113896" resp="author" style="hidden" xml:id="docAuthor_79bcfe52-11f6-4b7e-a9cc-76f3e4294d8a">Planché, James Robinson (1796–1880)</docAuthor> <docAuthor key="PSN0113896" resp="writer" style="hidden" xml:id="docAuthor_e1503c39-cfdf-432d-a2c0-98d03ff0a740">Planché, James Robinson (1796–1880)</docAuthor> <dateline rend="right">20 Brompton Crescent</dateline> <dateline rend="right"><date cert="high" when="1839-06-27" xml:id="date_b23c867d-1305-45c3-8d06-9fdd7c169d69">June 27<hi rend="superscript">th</hi> 1839</date>.</dateline> <salute rend="left">My dear Sir,</salute> <p style="paragraph_without_indent">I have just received your <title xml:id="title_eea0bd1a-1978-442f-920f-f523005294b2">letter of the 17<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-1839-06-17-01" style="hidden" type="letter">Felix Mendelssohn Bartholdy an James Robinson Planché in London; Frankfurt a. M., 17. Juni 1839</name> </title> instant and without hesitation accept your proposal of reconstructing the <title xml:id="title_8ce54f22-a8b2-4cff-94ee-4be7e760ba33">Opera of “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>, as I am determined that no objection of mine shall cause you to decline the work<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_ff6d1b3c-4958-43ea-bac9-6119ebc1fd6c" xml:lang="en">to decline the work – Die 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. Felix Mendelssohn Bartholdy hatte sich bereits seit mehreren Jahren mit der Idee, eine Oper zu komponieren, beschäftigt. Anfangs stand er in Verhandlungen mit Karl von Holtei über ein mögliches Opernlibretto (siehe z. B. Brief fmb-1836-12-04-01), doch kam es zu keiner Zusammenarbeit. Noch im Juni 1837 schrieb Mendelssohn an seinen Freund Eduard Devrient: »Eine Wohnung und einen Operntext! Das ist jetzt mein Feldgeschrei« (siehe Brief fmb-1837-06-02-01). Zu Beginn des Jahres 1838 lehnte er mehrere ihm zugesandte Opernlibretti ab. Eine Operskomposition Mendelssohns kam niemals zu stande.</note> if there is a possibility of meeting your wishes and I prefer remodelling the present Opera to writing one on another subject, for two reasons. In the first place it would be some time perhaps before I could find another story so completely combining all the elements for the particular style of Opera you described to me in your first letter and secondly I feel that could I find one directly, the same difficulties <gap quantity="1" reason="deletion" unit="words"></gap> might arise and I should in addition have to compose every portion of the poetry, whilst in <hi n="1" rend="underline">this</hi> if I can manage to please you in the conduct of the Plot most of the lyrical pieces may be allowed to stand. To lose no time therefore I have requested <persName xml:id="persName_8856df16-7b8c-4ba2-ba9d-d4e9528eaf20">M<hi rend="superscript">r</hi> Chappell<name key="PSN0110351" style="hidden" type="person">Chappell, William (1809-1888)</name></persName> to send you back the copy of the Opera as I have the original and can therefore refer to any alteration you may propose: for the best way would be, if <hi n="1" rend="underline">you</hi> would be kind enough to take the Opera <hi n="1" rend="underline">scene</hi> by <hi n="1" rend="underline">scene</hi> and tell me <hi n="1" rend="underline">exactly</hi> where the alteration should commence and of what nature it should be.</p> <p>I will suppose for instance that you have no objection to the opening Chorus etc. – the arrival of the Queen and the introduction of Gaultier. In that case I gather from <choice resp="editor" source="autograph_edition_template" xml:id="choice_9a2502fa-c9af-43c7-bf79-959ea328d179"> <sic resp="writer">you</sic> <corr resp="editor">your</corr> </choice> last letter that your first objection is to the King’s magnanimity in pardoning Gaultier etc. as in some measure tending<seg type="pagebreak"> |2|<pb n="2" type="pagebreak"></pb></seg> to weaken the effect to the last act. Now before you decide upon this point allow me to show you my reasons for having so arranged it. In the first place the circumstance of Edward’s giving a safe-conduct to the bearer of the intercepted letter is <hi n="1" rend="underline">historical</hi>. (The annecdot is in Avesbury) and <add place="above">2<hi rend="superscript">ndly</hi><name key="PSN0113896" resp="writers_hand" style="hidden">Planché, James Robinson (1796–1880)</name></add> I do not see how it weakens the effect of the pardon in the 3<hi rend="superscript">d</hi> act because that part of the denouement ist so <hi n="1" rend="underline">notorious</hi> that you cannot mislead the audience into any supposition that he will act otherwise, by representing him of a more cruel or passionate disposition in the <hi n="1" rend="underline">first</hi> act.</p> <p>It is only the incidents that lead to it that can be new to the audience, do what you will with it; and surely when you desire <hi n="1" rend="underline">characteristic situation</hi> you would not make Edward do that which would be anything but characteristic. Magnanimity and high chivalric feeling being the grand historical features of that monarch’s character. And say nothing about the facts that my object has been to work in every incident mentioned by the chroniclers of the period and that this particular is highly dramatic. Edward permitting the poor creatures who were turned out of Calais to pass safely through his lines and giving them also food and money is another instance of his magnanimity on record and mixed up with the plot of the Opera. You seem to think that on <hi n="1" rend="underline">the second pardon depends the whole Opera</hi> – my notion was very different. I con<unclear reason="covering" resp="FMBC">ceived</unclear> the Opera depended upon the story of the two Brothers. The <gap quantity="1" reason="covering" unit="words"></gap> portion being merely <hi n="1" rend="underline">the ground</hi> upon which it is worked. According indeed to your own words in your first letter where you say “the dark figure of Cardinal Mazarin forms a back ground to the “Deux Journees” but it could be <hi n="1" rend="underline">more prominent still</hi>.” A<unclear reason="covering" resp="FMBC">lso</unclear> Edward 3<hi rend="superscript">d</hi> is <hi n="1" rend="underline">my</hi> Cardinal Mazarin – and I have tried to render him more prominent – but that is all.</p> <p>The loves of two Brothers<seg type="pagebreak"> |3|<pb n="3" type="pagebreak"></pb></seg> for the same Lady. The <hi n="1" rend="underline">nobility</hi> of <add place="above">his Father’s<name key="PSN0113896" resp="writers_hand" style="hidden">Planché, James Robinson (1796–1880)</name></add> blood shining through the illegitimate Burgess. – “His heroical deed” – (<hi n="2" rend="underline">not</hi> as you say “in <hi n="1" rend="underline">favor of a brother whom he hardly knows</hi>” but to <hi n="1" rend="underline">ensure the happiness of the woman he adores</hi> by <hi n="1" rend="underline">saving the life</hi> of a <hi n="1" rend="underline">favored rival</hi> at <hi n="1" rend="underline">the expense of his own</hi>. – The greatest proof of love which any man could give!) – The struggles between love; duty and gratitude in the breast of Blanche – the doubt as to the <hi n="1" rend="underline">real</hi> intentions of Gaultier. – <hi n="1" rend="underline">These</hi> are the points on which I think the <gap quantity="1" reason="uncertain_reading" unit="words"></gap> flesh of the Opera depends and which would be strong enough to sustain it were we to cast the historical “<hi n="1" rend="underline">cadre</hi>” altogether away – <hi n="1" rend="underline">these</hi> are the situations which I thought <hi n="1" rend="underline">characteristic</hi> – If I have failed in execution or in making them clear to you – (as your widely different view of Gaultiers motive above mentioned makes me think must be the case) I must endeavour to remedy the evil: but at the same time I must in this way point out to you what my intentions were. With regard to the way in which the detention of Guillaume is managed in the 3<hi rend="superscript">d</hi> act. – I do not <hi n="1" rend="underline">like it myself</hi>: and shall be most happy to alter it: but to keep up the interest of the piece it still must be done without the audience – or at least without the other characters being aware of Gaultiers object. – He must be considered as intending to <hi n="1" rend="underline">make away</hi> with his rival – not to <hi n="1" rend="underline">save</hi> him. However let us settle the first act and something may arise out of our alterations which may help us.</p> <p>You will not I am sure misconstrue my motives in defending my view of the plot as it is only by this sort of discussion of the disputed points, that we shall be able to come to a clear understanding. It will be a <hi n="1" rend="underline">long</hi> business – but I hope satisfactory in the end as I trust you will meet me in the same spirit and allow for my feelings<seg type="pagebreak"> |4|<pb n="4" type="pagebreak"></pb></seg> and prejudices as I am willing to do for you.</p> <closer rend="right">Ever, my dear <unclear reason="covering" resp="FMBC">Sir</unclear></closer> <signed rend="right">Yours <unclear reason="covering" resp="FMBC">truly</unclear></signed> <signed rend="right"><unclear reason="covering" resp="FMBC">J. R. Planché</unclear></signed> </div> </body> </text></TEI>