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Maschinenlesbare Übertragung der vollständigen Korrespondenz Felix Mendelssohn Bartholdys (FMB-C)
1 Doppelbl.: S. 1-4 Brieftext; S. 4 Adresse, 2 Poststempel [LONDON / 2 / JUL / 1839], [D.1 / 7 7], Siegel. Der Brief ist vollständig in lateinischen Buchstaben geschrieben.
William Sterndale Bennett.
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.
Herrn D. Felix Mendelssohn Bartholdy
Frankfurt a/m.
via RotterdamPost. Rest
nd1839
At last I have a quiet opportunity of sitting down to answer your questions with regard to 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 Score of which I have carefully perused and find that you have had very good reasons for all your queries as in almost every case which you mention, the Manuscript differs from Arnold’s Edition – I have not been able to get an Edition of domestic affairs as
Questions
No 1) Are the Cyphers (Bezifferung) Handel’s or whose else? – Are these Cyphers in the Manuscript
No 2) Do you ever play the Organ in England to Handels Overture’s as for in the beginning of Samson in G# 3/4
No 3) – relative to repetition of Songs & Chorusses – Dead Marches; Chorus of Virgins &c – Recitative 6th bar page 30 – Opening Chorus in D# repeated three times – &c &c &c
4) – Is there any indication of “Presto” in Handels hand-writing in the Chorus, “O first created beam” when the words “to thy dark servant” begin –
5) Is there another Edition of the Score of Samson than Arnold’s?
6 In page 46 of Arnold Ed. there are the 4 beginning bars of the recit without accomp. it comes in afterwards – nobody knows how – is that the case also in the Manuscript? –
Answers
No 1) The Figures are Handels I have very little doubt and are in the Manuscript Score – Perhaps r Smith
No 2) This I believe is quite uncertain – but at any rate always when there is a bad Organist
No 3) Two dead Marches do not belong to Samson, the first one in C Major is the dead March in Saul and I supposed only introduced in Samson. The Second March in D appears to be the only one in the Manuscript – There are not in the M. S. two Chorus of virgins – (the Second time – Page 88 – bar 15 – is supposed in the M. S. to be an attendant Virgin on Dalila – as Handel writes in the Score (for Miss Edwards). – The only Chorus ought to be at page 89 – Handel means the first Chorus to be repeated 3 times but the last time after the Song in B Minor page 23. instead of after page 22.
4) Nothing more expressed than at the beginning “Tempo Ordinario” – not even the Allegro’s marked
5) Walsh’s Edition
No 6) On looking over the M. S. I find a recit (unaccompanied) of about 40 bars and then commences the accompanied recit – “My griefs for this” – So that Dr Arnold has taken the first 4 bars (page 46) and proceeded to the next recit – perhaps there was some objection to the words, which are curious I have copied the whole of it out in case you want it.
London July 2nd 1839 My Dear Friend,
At last I have a quiet opportunity of sitting down to answer your questions with regard to Samson – the Score of which I have carefully perused and find that you have had very good reasons for all your queries as in almost every case which you mention, the Manuscript differs from Arnold’s Edition – I have not been able to get an Edition of Walsh’s which I understand is far better than Arnold. But if you would like to have one I will try and send you one over – I am sure you will have a better edition in Germany than we have, for I had no idea until now that ours was so bad. Excuse my writing on domestic affairs as David will tell you all –
Ever Yours truly
William Sterndale Bennett.
No 1) Are the Cyphers (Bezifferung) Handel’s or whose else? – Are these Cyphers in the Manuscript
No 2) Do you ever play the Organ in England to Handels Overture’s as for in the beginning of Samson in G# 3/4?
No 3) – relative to repetition of Songs & Chorusses – Dead Marches; Chorus of Virgins &c – Recitative 6th bar page 30 – Opening Chorus in D# repeated three times – &c &c &c
4) – Is there any indication of “Presto” in Handels hand-writing in the Chorus, “O first created beam” when the words “to thy dark servant” begin –
5) Is there another Edition of the Score of Samson than Arnold’s?
6 In page 46 of Arnold Ed. there are the 4 beginning bars of the recit without accomp. it comes in afterwards – nobody knows how – is that the case also in the Manuscript? –
No 1) The Figures are Handels I have very little doubt and are in the Manuscript Score – Perhaps Mr Smith (his Secretary) altered or added some.
No 2) This I believe is quite uncertain – but at any rate always when there is a bad Organist
No 3) Two dead Marches do not belong to Samson, the first one in C Major is the dead March in Saul and I supposed only introduced in Samson. The Second March in D appears to be the only one in the Manuscript – There are not in the M. S. two Chorus of virgins – (the Second time – Page 88 – bar 15 – is supposed in the M. S. to be an attendant Virgin on Dalila – as Handel writes in the Score (for Miss Edwards) . – The only Chorus ought to be at page 89 – Handel means the first Chorus to be repeated 3 times but the last time after the Song in B Minor page 23. instead of after page 22.
4) Nothing more expressed than at the beginning “Tempo Ordinario” – not even the Allegro’s marked
5) Walsh’s Edition
No 6) On looking over the M. S. I find a recit (unaccompanied) of about 40 bars and then commences the accompanied recit – “My griefs for this” – So that Dr Arnold has taken the first 4 bars (page 46) and proceeded to the next recit – perhaps there was some objection to the words, which are curious I have copied the whole of it out in case you want it. I should imagine the best plan to be to accompany the first 4 bars
I desire my best Respects to your Lady & best remembrances to all my friends in Leipzig. I remain in London all the Winter I think and shall be glad to hear from you.
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Humboldt-Universität zu Berlin</publisher> <address> <street>Am Kupfergraben 5</street> <placeName xml:id="placeName_788ccf1b-130b-4e1f-90c5-d7c6379094fb"> <settlement>10117 Berlin</settlement> <country>Deutschland</country> </placeName> </address> <idno type="URI">http://www.mendelssohn-online.com</idno> <availability> <licence target="http://creativecommons.org/licenses/by/4.0/">Creative Commons Attribution 4.0 International (CC BY 4.0)</licence> </availability> </publicationStmt> <seriesStmt> <p>Maschinenlesbare Übertragung der vollständigen Korrespondenz Felix Mendelssohn Bartholdys (FMB-C)</p> </seriesStmt> <sourceDesc source="edition_template_manuscript" xml:id="sourceDesc_dcc6abf5-44d3-4e0e-85c7-0c29ee6904d9"> <msDesc> <msIdentifier> <country>Großbritannien</country> <settlement>Oxford</settlement> <institution key="RISM">GB-Ob</institution> <repository>Oxford, Bodleian Library</repository> <collection>Music Section</collection> <idno type="signatur">M.D.M. d. 35/198.</idno> </msIdentifier> <msContents> <msItem> <idno type="autograph">Autograph</idno> <title key="gb-1839-07-02-01" type="letter" xml:id="title_a796b226-11ed-49c2-afcb-03f47554796b">William Sterndale Bennett an Felix Mendelssohn Bartholdy in Frankfurt a. M.; London, 2. Juli 1839</title> <incipit>At last I have a quiet opportunity of sitting down to answer your questions with regard to Samson – the Score of which I have carefully perused and find that you have had very good</incipit> </msItem> </msContents> <physDesc> <p>1 Doppelbl.: S. 1-4 Brieftext; S. 4 Adresse, 2 Poststempel [LONDON / 2 / JUL / 1839], [D.1 / 7 7], Siegel. Der Brief ist vollständig in lateinischen Buchstaben geschrieben.</p> <handDesc hands="1"> <p>William Sterndale Bennett.</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">Bennett, Mendelssohn als Herausgeber Händelscher Werke, S. 52 f.</bibl> </listBibl> </additional> </msDesc> </sourceDesc> </fileDesc> <encodingDesc><projectDesc><p>Felix Mendelssohn Bartholdy Correspondence Online-Ausgabe FMB-C: Digitale Edition der vollständigen Korrespondenz Hin- und Gegenbriefe Felix Mendelssohn Bartholdys auf XML-TEI-Basis.</p></projectDesc><editorialDecl><p>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.</p></editorialDecl></encodingDesc> <profileDesc> <creation><date cert="high" when="1839-07-02" xml:id="date_7ef2fa0e-9457-429e-b531-30a9cd0b0afe">2. Juli 1839</date></creation> <correspDesc> <correspAction type="sent"> <persName key="PSN0109864" resp="author" xml:id="persName_703c69b1-b14b-4f2a-ade4-08e920defaf5">Bennett, (seit 1871) Sir William Sterndale (1816-1875)</persName><note>counter-reset</note><persName key="PSN0109864" resp="writer">Bennett, (seit 1871) Sir William Sterndale (1816–1875)</persName> <placeName type="writing_place" xml:id="placeName_0774c033-ea76-4f16-b7eb-71b55f05f831"> <settlement key="STM0100126">London</settlement><country>Großbritannien</country> </placeName> </correspAction> <correspAction type="received"> <persName key="PSN0000001" resp="receiver" xml:id="persName_2c0e9741-41fb-47ad-9178-5bfc0e553b46">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</persName> <placeName type="receiving_place" xml:id="placeName_25ea5268-43ea-4026-ad88-ed59b71a97b7"> <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_400e6162-e01d-4db1-8a0a-2abdb2cad47e"> <head> <address> <addrLine>Sr. Wohlgeboren</addrLine> <addrLine><hi rend="latintype">Herrn D. Felix Mendelssohn Bartholdy</hi></addrLine> <addrLine><hi rend="latintype">Frankfurt a/m.</hi></addrLine> <addrLine><hi n="1" rend="underline"><hi rend="latintype">via Rotterdam</hi></hi></addrLine> <addrLine><hi rend="latintype">Post. Rest</hi></addrLine> </address> </head> </div> <div n="1" type="act_of_writing" xml:id="div_bba385e7-9314-4f10-993c-076385eee995"> <docAuthor key="PSN0109864" resp="author" style="hidden" xml:id="docAuthor_2f61d5f4-940a-4fe8-9b08-85ab5d78ac82">Bennett, (seit 1871) Sir William Sterndale (1816–1875)</docAuthor> <docAuthor key="PSN0109864" resp="writer" style="hidden" xml:id="docAuthor_79ed6206-7d1b-4d0c-a7bb-9f2264fb70d6">Bennett, (seit 1871) Sir William Sterndale (1816–1875)</docAuthor> <dateline rend="right">London <date cert="high" when="1839-07-02" xml:id="date_0d3ca83a-cbd2-4cf2-a9fe-ec48c1597450">July 2<hi rend="superscript">nd</hi> 1839</date></dateline> <salute rend="left">My Dear Friend,</salute> <p style="paragraph_without_indent">At last I have a quiet opportunity of sitting down to answer your questions with regard to <hi n="1" rend="underline"><title xml:id="title_e32d4087-28bf-4211-8529-6fb27783b2e6">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><note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_6a4356b5-db3c-473f-8627-03c71bccf6bc" xml:lang="en">your questions with regard to Samson – Mendelssohn plante 1839 bei Breitkopf & Härtel eine Neuedition von Händels Oratorien Samson HWV 57, Judas Maccabaeus HWV 63 und Messiah HWV 56. Alle drei Werke hatte er 1834 (bzw. Messiah 1835) bereits in Düsseldorf aufgeführt. Die Edition kam jedoch nicht zustande. </note> – the Score of which I have carefully perused and find that you have had very good reasons for all your queries as in almost every case which you mention, the Manuscript differs from Arnold’s Edition<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_966220b7-5a26-451d-89a4-1ac70f0527ff" xml:lang="en">Arnold’s Edition – Samuel Arnold gab zwischen 1787 und 1797 die erste, wenn auch unvollständige, Gesamtausgabe Händel’scher Werke heraus.</note> – I have not been able to get an Edition of <persName xml:id="persName_415b5f0a-2046-423e-91f5-426173b3363e">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> which I understand is far better than <persName xml:id="persName_28f8b6e0-08a0-44ba-9831-3f8ec6e555cd">Arnold<name key="PSN0109541" style="hidden" type="person">Arnold, Samuel (1740-1802)</name></persName>.<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_48d63a34-4d18-48b0-9389-f12f0008bf37" xml:lang="en">Edition of Walsh’… better than Arnold – Arnold besaß selbst einige von Händels Musikhandschriften und konnte darüber hinaus andere in königlichen Besitz übergegangene Autographe einsehen. Für den größten Teil seiner Arbeit griff er jedoch auf zeitgenössische Drucke von Walsh, Wright, Randall und Birchall zurück (siehe hierzu auch Susanna Großmann-Vendrey, Musik der Vergangenheit, S. 97 f., und Bernd Baselt, Händel-Editionen zur Zeit der Wiener Klassik, in: Georg Friedrich Händel, Ausstellung aus Anlaß der Händel-Festspiele des Badischen Staatstheaters Karlsruhe 1985, Ausstellungskatalog, hrsg. von der Badischen Landesbibliothek, Karlsruhe 1985, S. 110 ff.).</note> But if you would like to have one I will try and send you one over – I am sure you will have a better edition in Germany than we have, for I had no idea until now that ours was so bad. Excuse my writing on <hi n="1" rend="underline">domestic affairs</hi> as <persName xml:id="persName_35914b84-d01b-4579-99e3-5569846aeeac">David<name key="PSN0110564" style="hidden" type="person">David, Ernst Victor Carl Ferdinand (1810-1873)</name></persName> will tell you all – </p> <signed rend="right">Ever Yours truly</signed> <signed rend="right">William Sterndale Bennett.</signed> </div> <div n="2" type="act_of_writing" xml:id="div_f0264c4f-39d2-47c7-b76d-ed0852b242eb"> <docAuthor key="PSN0109864" resp="author" style="hidden" xml:id="docAuthor_2afc5dfe-0c77-4bd5-aac2-415f874e9411">Bennett, (seit 1871) Sir William Sterndale (1816–1875)</docAuthor> <docAuthor key="PSN0109864" resp="writer" style="hidden" xml:id="docAuthor_3ecf6052-ee5d-4406-9d19-ba76b1b35cbb">Bennett, (seit 1871) Sir William Sterndale (1816–1875)</docAuthor> <head rend="left"><seg type="pagebreak">|2|<pb n="2" type="pagebreak"></pb></seg> <hi n="1" rend="underline">Questions</hi></head> <p style="paragraph_without_indent">No 1) Are the Cyphers (Bezifferung) Handel’s or whose else? – Are these Cyphers in the Manuscript</p> <p>No 2) Do you ever play the Organ in England to Handels Overture’s as for in the beginning of Samson in G# <formula rend="fraction_slash"><hi rend="supslash">3</hi><hi rend="barslash">/</hi><hi rend="subslash">4</hi></formula>?</p> <p>No 3) – relative to repetition of Songs & Chorusses – Dead Marches; Chorus of Virgins &c – Recitative 6<hi rend="superscript">th</hi> bar page 30 – Opening Chorus in D# repeated three times – &c &c &c</p> <p>4) – Is there any indication of “Presto” in Handels hand-writing in the Chorus, “O first created beam” when the words “<hi n="1" rend="underline">to thy dark servant</hi>” begin – </p> <p>5) Is there another Edition of the Score of Samson than Arnold’s?</p> <p>6 In page 46 of Arnold Ed. there are the 4 beginning bars of the recit without accomp. it comes in afterwards – nobody knows how – is that the case also in the Manuscript? – </p> </div> <div n="3" type="act_of_writing" xml:id="div_5f490839-e1ac-440b-87e0-a140feab3f7c"> <docAuthor key="PSN0109864" resp="author" style="hidden" xml:id="docAuthor_6cd8b89f-00c2-4938-b198-7d3ad188ad77">Bennett, (seit 1871) Sir William Sterndale (1816–1875)</docAuthor> <docAuthor key="PSN0109864" resp="writer" style="hidden" xml:id="docAuthor_ee09f4ab-73fc-41a7-a609-60d59896af7e">Bennett, (seit 1871) Sir William Sterndale (1816–1875)</docAuthor> <head rend="left"><seg type="pagebreak"> |3|<pb n="3" type="pagebreak"></pb></seg> <hi n="1" rend="underline">Answers</hi></head> <p style="paragraph_without_indent">No 1) The Figures are Handels I have very little doubt and are in the Manuscript Score – Perhaps <persName xml:id="persName_26156c14-6756-4ae4-80e3-839f37de99cd">M<hi rend="superscript">r</hi> Smith<name key="PSN0114948" style="hidden" type="person">Smith, John Christopher jun. (eigtl. Johann Christoph Schmidt) (1712-1795)</name></persName> (his Secretary) altered or added some.</p> <p>No 2) This I believe is quite uncertain – but at any rate <hi n="1" rend="underline">always</hi> when there is a <hi n="1" rend="underline">bad Organist</hi></p> <p>No 3) Two dead Marches do not belong to Samson, the first one in C Major is the dead March in Saul and I supposed only introduced in Samson. The Second March in D appears to be the only one in the Manuscript – There are not in the M. S. two Chorus of virgins – (the Second time – Page 88 – bar 15 – is supposed in the M. S. to be an attendant Virgin on Dalila – as Handel writes in the Score (for Miss Edwards). – The only Chorus ought to be at page 89 – Handel means the first Chorus to be repeated 3 times but the <hi n="1" rend="underline">last time</hi> after the Song in B Minor page 23. instead of after page 22.</p> <p>4) Nothing more expressed than at the beginning “Tempo Ordinario” – not even the Allegro’s marked</p> <p>5) <hi n="1" rend="underline">Walsh’s Edition</hi></p> <p>No 6) On looking over the M. S. I find a recit (unaccompanied) of about 40 bars and then commences the <hi n="1" rend="underline">accompanied</hi> recit – “<hi n="1" rend="underline">My griefs for this</hi>” – So that D<hi rend="superscript">r</hi> Arnold has taken the first 4 bars (page 46) and proceeded to the next recit – perhaps there was some objection to the words, which are curious I have copied the whole of it out in case you want it.<note resp="FMBC" style="hidden" type="text_constitution" xml:id="note_c6cded9a-277b-425f-ad0b-99b72b7ea31c" xml:lang="en">Der folgende Satz steht unten links am Seitenrand im Innern des Albums, neben Nr. 6.</note><add place="margin"> I should imagine the best plan to be to accompany the first 4 bars<name key="PSN0109864" resp="writers_hand" style="hidden">Bennett, (seit 1871) Sir William Sterndale (1816–1875)</name></add></p> </div> <div n="4" type="act_of_writing" xml:id="div_9186874d-3d3e-4015-893e-8311cc0bb6d0"> <docAuthor key="PSN0109864" resp="author" style="hidden" xml:id="docAuthor_1838043a-3ec2-41aa-88fd-92f1490b1f5c">Bennett, (seit 1871) Sir William Sterndale (1816–1875)</docAuthor> <docAuthor key="PSN0109864" resp="writer" style="hidden" xml:id="docAuthor_5dd979a0-dfdc-489c-8215-ce8e7b45ac39">Bennett, (seit 1871) Sir William Sterndale (1816–1875)</docAuthor> <p style="paragraph_without_indent"><seg type="pagebreak"> |4|<pb n="4" type="pagebreak"></pb></seg> I desire my best Respects to your Lady & best remembrances to all my friends in Leipzig. I remain in <placeName xml:id="placeName_824e208e-2f90-459e-b3f0-fd2e7c7df735">London<settlement key="STM0100126" style="hidden" type="locality">London</settlement><country style="hidden">Großbritannien</country></placeName> all the Winter I think and shall be glad to hear from you.</p> </div> </body> </text></TEI>