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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.
Henry Fothergill Chorley.
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.
D
rMendelssohn„Sir“
I only reached write
I had on the whole a very successful journey homeward: thanks to your hints I enjoyed the Rhine to the fullest degree – & kept my promise of eating grapes for us both at me Dulckenme David
schnellpost I did so – I need not say I have not had any leisure to
opus? – Say, in the first part for
Earth– a chorus or choruses descriptive of natural beauty – Spring for instance – on presenting the cheerful images of busy, domestic life – (one might vary the picture by airs, duetts &c. &c, if desired) – & then, the contrast afforded by the deep sadness & solitariness of the leper whom all the young, & the
presentwith the
future) might be introduced that parable of the same import with the Story of Lazarus – where the rich man rejoices in the houses he has built, & the barns he has filled – & bids his “
Soul take” – while , in the midst of his rejoicing the Voice of God summons him with that awful summons . “
Thou fool! This night thy soul shall be required of thee!” Do you not think that in
Earthmight be shadowed forth, with sufficient variety & distinctness for musical purposes? – or have I made my notion clear to you – that such an adoption of the scriptural story, might combine not only those outward features of
materialfor a great work of universal application & interest: I need not say what pleasure it would give me to be associated with you, even in the humble capacity of compiler of
libretto.
But I don’t know whether my more aspiring notions as to Opera may not come out sooner than I fancied, when we talked together – for the negociations concerning
failureshould my dramatic child make its appearance soon as now seems likely. – I mention this – believing I have your good wishes – & remembering my promise that in case my stars are kind, I will at once aspire to a partnership in some great lyrical work, on the back of which my name may ride behind yours – no one knows through how many biographical dictionaries!!!! –
I have seen no one jet since my return – not even
melangeof many styles – al all events the old – the new.
I will send you my letters on German Music all together when the last has appeared: – but you will judge of my vexation when I tell you that the packet I sent from Athenaeum<name key="PSN0119969" style="hidden" type="author">Sterling, John</name><name key="CRT0112650" style="hidden" type="periodical">The Athenæum. Journal of Literature, Science, and the Fine Arts</name> is deprived of my vivid first impressions of German Oratorio! Schade! Can my inquisitive friend in the velvet coat have had anything to do with their stoppage? I have not often been so vexed. – me Dlle Meertirs Henry F. Chorley
Tuesday. I`ve seen by this morning’s paper that soiree at
9 Chappel Street Belgrave Square London Sunday November 3/39. My dear Mendelssohn Esq I cannot follow the only one bad fashion I saw in Leipsic – namely that of your calling me „Sir“
I only reached London last night (after a week in Liverpool) – but it seems to me not easy to sit down to my desk, & resume my old habits, without giving you the preference over many business correspondents whom I must address. I cannot but feel that among many pleasant things in Germany – my days at Leipsic were the pleasantest, not delay longer assuring you how gratefully I remember the friendly readiness you showed to adopt the friend of many of your friends. I can neither make or write (save in plays or novels) & I hope you are aware that I felt not only the privilege but also the pleasure of an intercourse, as it deserved & that I appreciated your great kindness in giving me so much of your time, as a friend which claimed you so imperatively at home. Indeed I hope that reconnexion so pleasantly commenced, will not be easily let drop; –
I had on the whole a very successful journey homeward: thanks to your hints I enjoyed the Rhine to the fullest degree – & kept my promise of eating grapes for us both at Rudesheim & elsewhere. At Cologne I lost not a moment in fulfilling David´s commission. Will you tell him, however, from me – with my best remembrances – that I found Mme Dulcken gone there for Amsterdam: & all that I could do was to device Mme David – to open the letter I had addressed to her – to read it, & then to forward it with the parcel of music. I hope this will have caused no misunderstanding or confusion – as I had no choice than to act thus. Will you tell David, that I do not know whether my remembrances of his almost affectionate kindness, or my sympathy in the sorrow he was oppressed by were the most frequently with me on my journey. I shall never forget the former – for the case of the I must trust to Time his own good conscience, & the kind offices of the friends by whom he is so happily surrounded. – I hope he knows how entirely I am sensible of his unceasing hospitality to me – & that he will not think the worse of me, because I have no room nor inclination for fine words about the matter.
But I must not longer delay aquainting you with the fruit of our last most interesting & (to me) flattering conversation. I said I would set my brains to work upon some of the ideas you presented to me in embryo, & in spite of the noises & distractions of the schnellpost I did so – I need not say I have not had any leisure to mature my plans since my return – & I but send you the sketch of one, to show you what a man of my word I try to be & because I think there is something in it which is worthy of consideration. If it at all strike you fancy – I will submit it to you again in a more advanced state. & so on: till we are quite agreed. I thought much of your magnificent Psalm & our wish to incorporate it in a larger work, – but without any satisfactory result as yet – But your floating vision of Earth Hell & Paradise took something of a more tangible form. What think you of making the Story of Dives & Lazarus the frame work of such an opus? – Say, in the first part for Earth – a chorus or choruses descriptive of natural beauty – Spring for instance – on presenting the cheerful images of busy, domestic life – (one might vary the picture by airs, duetts &c. &c, if desired) – & then, the contrast afforded by the deep sadness & solitariness of the leper whom all the young, & the active – the prosperious passed by – now pitying him! Then, to proceed, – a harvest feast for the rich man’s banquet – (with the poor beggar at the gate) & have (to link as it were, the present with the future) might be introduced that parable of the same import with the Story of Lazarus – where the rich man rejoices in the houses he has built, & the barns he has filled – & bids his “Soul take its ease, in the goods he has laid up in store for many years” – while, in the midst of his rejoicing the Voice of God summons him with that awful summons . “Thou fool! This night thy soul shall be required of thee!” Do you not think that in the poem thus arranged – Earth might be shadowed forth, with sufficient variety & distinctness for musical purposes? – or have I made my notion clear to you – that such an adoption of the scriptural story, might combine not only those outward features of – but those contrasts of human life, which are so impressive as the imperfect Precursors of a future state of being? – Then, the second part would comprise. the rich man, placed amid the flames & torments of Hell – agonized for one drop of water – & afterwards with the remembrances of his unconverted brethren – while the poor despised beggar, reposes in Abraham’s bosom & answers the petitions of dives, with gentle but passionless reply of a beatified spirit, beyond the reach of being afflicted by pain & stiring & sorrow. If this ideas were adopted, you would have two contrasted characters throughout – & both, offering scope for a wide range of Expression & developements – I think moreover, that the whole could be well accomplished with scriptural word – & that whatever variety of voice, musical form &c. &c. was wanted, might be naturally & easily introduced without spoiling, or overencumbering the main great purpose. If my notion be at all such an one as you approve, let me hear soon from you – & I will then send you my ideas as to details &c. &c. &c. &c. To me it seems that there is in it the material for a great work of universal application & interest: I need not say what pleasure it would give me to be associated with you, even in the humble capacity of compiler of libretto.
But I don’t know whether my more aspiring notions as to Opera may not come out sooner than I fancied, when we talked together – for the negociations concerning my play are assuming a very agreeable appearance – & I think I have more than a chance of its being produced. The prospect of coming to my trial so soon, has excited me not a little – & I am trying hard to subdue my too sanguine nature, so as not only to be prepared for – but even to expect failure should my dramatic child make its appearance soon as now seems likely. – I mention this – believing I have your good wishes – & remembering my promise that in case my stars are kind, I will at once aspire to a partnership in some great lyrical work, on the back of which my name may ride behind yours – no one knows through how many biographical dictionaries!!!! –
I have seen no one jet since my return – not even Klingemann – but I came up from Liverpool the other day, with Blagrove, who was at the Norwich festival – & described Spohr’s reception as having been so warm as quite to confuse him in the performance of his new Concerto – this appears to be a sort of historical melange of many styles – al all events the old – the new.
I will send you my letters on German Music all together when the last has appeared: – but you will judge of my vexation when I tell you that the packet I sent from Brunswick has never reached England – my own family were in the greatest uneasiness – & the Athenaeum is deprived of my vivid first impressions of German Oratorio! Schade! Can my inquisitive friend in the velvet coat have had anything to do with their stoppage? I have not often been so vexed. – And now I think I have given you a famous specimen of my powers of endurance as a scribbler, & will let you go – because I have no more room. Besides my affectionate regards to David & Mme D – will you remember me gratefully to the gentlemen I know, if you think it worth while – & kindly to Mlle Meerti – but most of all to your kind family at BerlinBerlinDeutschland. I hope your last arrived blessing continues to thrive – God bless you – excusing all formalities believe me to be sincerely yrs Henry F. Chorley
Tuesday. I`ve seen by this morning’s paper that Moscheles and Chapell have been playing at a soiree at St Cloud with great effect in the presence of French royalty.
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Humboldt-Universität zu Berlin</publisher> <address> <street>Am Kupfergraben 5</street> <placeName xml:id="placeName_1d929019-5cfa-4e10-9dda-ca2c100c283b"> <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_f33390ed-121a-42eb-afe5-2a494a7358b3"> <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. 36/120.</idno> </msIdentifier> <msContents> <msItem> <idno type="autograph">Autograph</idno> <title key="gb-1839-11-05-04" type="letter" xml:id="title_c703bb04-1e6e-4d0d-b938-608b0adfe5b4">Henry Fothergill Chorley an Felix Mendelssohn Bartholdy in Leipzig; London, 3. und 5. November 1839</title> <incipit>My dear Mendelssohn Esq I cannot follow the only one bad fashion I saw in Leipsic – namely that of your calling me „Sir“I only reached London last night (after a week in Liverpool) –</incipit> </msItem> </msContents> <physDesc><p>1 Doppelbl.: S. 1-3 Brieftext; S. 4 Adresse, Siegel. – Der Brief ist vollständig in lateinischen Buchstaben geschrieben.</p><handDesc hands="1"><p>Henry Fothergill Chorley.</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">Bledsoe, Henry Fothergill Chorley, S. 96-98 (Teildruck).</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="1839-10-03" xml:id="date_3350ac8f-9473-446d-9fb9-349762e0b1c4">3.</date> und <date cert="high" when="1839-11-05" xml:id="date_b074ce59-0b30-43c0-ae5b-a81eee2ef962">5. November 1839</date></creation> <correspDesc> <correspAction type="sent"> <persName key="PSN0110376" resp="author" xml:id="persName_0a48c2c4-231e-42ef-8a10-e054bd433545">Chorley, Henry Fothergill (1808-1872)</persName><note>counter-reset</note><persName key="PSN0110376" resp="writer">Chorley, Henry Fothergill (1808-1872)</persName> <placeName type="writing_place" xml:id="placeName_06eefef8-5146-4e86-bed0-af8f5ad15500"> <settlement key="STM0100126">London</settlement><country>Großbritannien</country> </placeName> </correspAction> <correspAction type="received"> <persName key="PSN0000001" resp="receiver" xml:id="persName_0487d746-b43d-4179-ba0e-6889889c9450">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</persName> <placeName type="receiving_place" xml:id="placeName_78d35940-6a75-4574-a9d7-6609442e8586"> <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_3a11dca9-51a6-4eab-b3e4-0eab83badd88"> <head> <address> <addrLine><hi rend="latintype">D<hi rend="superscript">r</hi> Mendelssohn</hi></addrLine> </address> </head> </div> <div n="1" type="act_of_writing" xml:id="div_191236ab-c378-4323-aaf7-e1f8b0e19460"> <docAuthor key="PSN0110376" resp="author" style="hidden" xml:id="docAuthor_52e97702-4f22-4e58-a1de-33f3d5349972">Chorley, Henry Fothergill (1808-1872)</docAuthor> <docAuthor key="PSN0110376" resp="writer" style="hidden" xml:id="docAuthor_05acb16a-5667-4783-808c-43f3d656e6c5">Chorley, Henry Fothergill (1808-1872)</docAuthor> <dateline rend="left">9 Chappel Street Belgrave Square London <date cert="high" when="1839-11-03" xml:id="date_c9a7e490-db48-4e99-b193-29d61396f539">Sunday November 3/39</date>.</dateline> <p style="paragraph_without_indent"><seg type="salute">My dear Mendelssohn Esq</seg> I cannot follow the only one bad fashion I saw in <placeName xml:id="placeName_5c2ca653-f79a-49d0-8afa-69faac78c950">Leipsic<settlement key="STM0100116" style="hidden" type="locality">Leipzig</settlement><country style="hidden">Deutschland</country></placeName> – namely that of your calling me <hi n="1" rend="underline">„Sir“</hi></p> <p>I only reached <placeName xml:id="placeName_6de42174-5b20-4dba-ad62-be80bdb5cf58">London<settlement key="STM0100126" style="hidden" type="locality">London</settlement><country style="hidden">Großbritannien</country></placeName> <date cert="high" when="1839-11-02" xml:id="date_66c4d47d-9a13-43eb-a067-1013c533de68">last night</date> (after a week in Liverpool) – but it seems to me not easy to sit down to my desk, & resume my old habits, without giving you the preference over many business correspondents whom I must address. I cannot but feel that among many pleasant things in Germany – my days at Leipsic<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_e43c4865-2551-440b-a3e6-cb159d70131b" xml:lang="en">my days at Leipsic – Chorley befand sich auf einer zweimonatigen musikalischen Bildungsreise durch Deutschland. Carl Klingemann u. a. hatten ihm den Kontakt zu Mendelssohn und seiner Familie in Berlin vermittelt. Laut Mendelssohns »Fremdenliste« (GB-Ob, M.D.M. c. 49, fol. 24v) hatte Chorley ihn am 1. Oktober 1839 in Leipzig besucht, das er am darauffolgenden Montag, dem 7. Oktober, Richtung Dresden zu verlassen plante. In seinem Brief an Mendelssohn aus Berlin vom 27. September 1839 (Brief gb-1839-09-27-01) schrieb er, das er »till the following Monday« in Leipzig bleiben wolle. Mendelssohn sagte am 3. Oktober ein Treffen mit Chorley wegen Krankheit ab. Siehe Brief fmb-1839-10-03-03 (Brief Nr. 2450) Felix Mendelssohn Bartholdy an Henry Fothergill Chorley in Leipzig, Leipzig, 3. Oktober 1839.</note> were the pleasantest, not delay longer assuring you how gratefully I remember the friendly readiness you showed to adopt the friend of many of your friends. I can neither make or <hi n="1" rend="underline">write</hi> <gap quantity="1" reason="uncertain_reading" unit="words"></gap> (save in plays or novels) & I hope you are aware that I felt not only the privilege but also the pleasure of an intercourse, as it deserved & that I appreciated your great kindness in giving me so much of your time, as a friend which claimed you so imperatively at home. Indeed I hope that reconnexion so pleasantly commenced, will not be easily let drop; – </p> <p>I had on the whole a very successful journey homeward: thanks to your hints I enjoyed the Rhine to the fullest degree – & kept my promise of <hi n="1" rend="underline">eating grapes</hi> for us both at <placeName xml:id="placeName_fc5c3a29-6050-4d0e-ab54-ed0134c89738">Rudesheim<settlement key="STM0103479" style="hidden" type="locality">Rüdesheim</settlement><country style="hidden">Deutschland</country></placeName> & elsewhere. At <placeName xml:id="placeName_4f4e9317-55ed-4846-8c8a-f4915e7e4cef">Cologne<settlement key="STM0100107" style="hidden" type="locality">Köln</settlement><country style="hidden">Deutschland</country></placeName> I lost not a moment in fulfilling <persName xml:id="persName_f4e90a3b-0bcf-4777-96e0-c04708d833ad">David<name key="PSN0110564" style="hidden" type="person">David, Ernst Victor Carl Ferdinand (1810-1873)</name></persName>´s commission.<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_8015a903-6a00-48bb-a01a-d275f1e3a27b" xml:lang="en">David’s commission – Offensichtlich ging es um eine Übersendung von Musikalien an Ferdinand Davids Schwester Marie Louise Dulcken. Der genaue Inhalt des Auftrags Davids ist nicht mehr ermittelbar.</note> Will you tell him, however, from me – with my best remembrances – that I found <persName xml:id="persName_71a86c35-6c03-42c7-8f59-be4f5a57b05c">M<hi rend="superscript">me</hi> Dulcken<name key="PSN0110768" style="hidden" type="person">Dulcken, Marie Louise (1811-1850)</name></persName> gone there for <placeName xml:id="placeName_fa731f64-b2a6-4f39-bebc-a3cb5f5ae03e">Amsterdam<settlement key="STM0100369" style="hidden" type="locality">Amsterdam</settlement><country style="hidden">Niederlande</country></placeName>: & all that I could do was to device <persName xml:id="persName_966a27b1-ca2b-4fb9-9f4a-3001bf84d205">M<hi rend="superscript">me</hi> David<name key="PSN0110574" style="hidden" type="person">David, Sophie Wilhelmine (1807-1893)</name></persName> – to open the letter I had addressed to <persName xml:id="persName_86b1881c-e8b3-4eae-b144-168cb37b8cdc">her<name key="PSN0110768" style="hidden" type="person">Dulcken, Marie Louise (1811-1850)</name></persName> – to read it, & then to forward it with the parcel of music. I hope this will have caused no misunderstanding or confusion – as I had no choice than to act thus. Will you tell David, that I do not know whether <gap quantity="1" reason="deletion" unit="words"></gap> <add place="above">my<name key="PSN0110376" resp="writers_hand" style="hidden">Chorley, Henry Fothergill (1808-1872)</name></add> remembrances of his almost affectionate kindness, or my sympathy in the sorrow he was oppressed by <gap quantity="1" reason="deletion" unit="words"></gap> were the most frequently with me on my journey. I shall never forget the former – for the case of the <gap quantity="1" reason="uncertain_reading" unit="words"></gap> I must trust to Time his own good conscience, & the kind offices of the friends by whom he is so happily <gap quantity="3" reason="deletion" unit="characters"></gap> <add place="above">surr<name key="PSN0110376" resp="writers_hand" style="hidden">Chorley, Henry Fothergill (1808-1872)</name></add>ounded. – I hope he knows how entirely I am sensible of his unceasing <gap quantity="1" reason="deletion" unit="characters"></gap> hospitality to me – & that he will not think the worse of me, because I have no room nor inclination for fine words about the matter.</p> <p><seg type="pagebreak">|2|<pb n="2" type="pagebreak"></pb></seg> But I must not longer delay aquainting you with the fruit of our last most interesting & (to me) flattering conversation. I said I would set my brains to work upon some of the ideas you presented to me in embryo, & in spite of the noises & distractions of the <hi n="1" rend="underline">schnellpost</hi> I did so – I need not say I have not had any leisure to <gap quantity="1" reason="deletion" unit="words"></gap> <add place="above">mature<name key="PSN0110376" resp="writers_hand" style="hidden">Chorley, Henry Fothergill (1808-1872)</name></add> my plans since my return – & I but send you the sketch of one, to show you what a man of my word I try to be & because I think there is something in it which is worthy of consideration. If it at all strike you fancy – I will submit it to you again in a more advanced state. & so on: till we are quite agreed. I thought much of your magnificent <title xml:id="title_c4f290c9-ab86-4187-8799-363308fcaed7">Psalm<list style="hidden" type="fmb_works_directory" xml:id="title_bnvwzpfp-am5p-2e3f-g76b-1ic5bhvwiivr"> <item n="1" sortKey="musical_works" style="hidden"></item> <item n="2" sortKey="vocal_music" style="hidden"></item> <item n="3" sortKey="sacred_vocal_music" style="hidden"></item> <item n="4" sortKey="large-scale_sacred_vocal_works" style="hidden"></item></list><name key="PSN0000001" style="hidden" type="author">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</name><name key="PRC0100116" style="hidden">Der 95. Psalm »Kommt, lasst uns anbeten« für Solostimmen, gemischten Chor, Orchester und Orgel, 6. April 1838; [1839]; 3. Juli 1841<idno type="MWV">A 16</idno><idno type="op">46</idno></name><list style="hidden" type="fmb_works_directory" xml:id="title_9f77ignk-et0p-wgii-jr73-cbwmkni2phwk"> <item n="1" sortKey="musical_works" style="hidden"></item> <item n="2" sortKey="vocal_music" style="hidden"></item> <item n="3" sortKey="sacred_vocal_music" style="hidden"></item> <item n="4" sortKey="large-scale_sacred_vocal_works" style="hidden"></item></list><name key="PSN0000001" style="hidden" type="author">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</name><name key="PRC0100117" style="hidden">Der 114. Psalm »Da Israel aus Ägypten zog« für gemischten Chor, Orchester und Orgel, [Ende Juli 1839] bis 9. August 1839; Revision 1840<idno type="MWV">A 17</idno><idno type="op">51</idno></name></title><note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_3bdc7082-cf8d-453d-bbea-21a39cfea639" xml:lang="en">your magnificent Psalm – Aller Wahrscheinlichkeit handelte es sich um Mendelssohns 95. Psalm »Kommt, lasst uns anbeten« op. 46 oder aber um den 114. Psalms »Da Israel aus Ägypten zog« op. 51, die beide im Zeitraum 1838/39 entstanden sind.</note> & our wish to incorporate it in a larger work, – but without any satisfactory result as yet – But your floating vision of Earth Hell & Paradise took something of a more tangible form. What think you of making the <title xml:id="title_56e69ef9-fe3b-4b58-982d-a9d8a1b191cc">Story of Dives & Lazarus<name key="PSN0110376" style="hidden" type="author">Chorley, Henry Fothergill (1808-1872)</name><name key="CRT0108428" style="hidden" type="dramatic_work">Dives & Lazarus (Librettoentwurf)</name></title><note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_7b91899f-d667-44c9-b7a8-9ee68c809e7d" xml:lang="en">the Story of Dives & Lazarus – Das Gleichnis vom reichen Mann und vom armen Lazarus ist eine biblische Erzählung aus dem Lukasevangelium (Lk 16,19–31). Die Figur des Lazarus (hebr. אֶלְעָזָר Elʿāzār, dt. »Gott hat geholfen«) ist nicht identisch mit dem nach dem Johannesevangelium von Jesus Christus auferweckten Lazarus (Joh 11).</note> the frame work of such an <hi n="1" rend="underline">opus</hi>? – Say, in the first part for <hi n="2" rend="underline">Earth</hi> – a chorus or choruses descriptive of natural beauty – Spring for instance – on presenting the cheerful images of busy, domestic life – (one might vary the picture by airs, duetts &c. &c, if desired) – & then, the contrast afforded by the deep sadness & solitariness of the leper whom all the young, & the <gap quantity="1" reason="deletion" unit="words"></gap> active – the prosperious passed by – now pitying him! Then, to proceed, – a harvest feast for the rich man’s banquet – (with the poor beggar at the gate) & have (to link as it were, the <hi n="1" rend="underline">present</hi> with the <hi n="1" rend="underline">future</hi>) might be introduced that parable of the same import with the Story of Lazarus – where the rich man rejoices in the houses he has built, & the barns he has filled – & bids his “<hi n="1" rend="underline">Soul take <gap quantity="1" reason="deletion" unit="words"></gap> its ease, in the goods he has laid up in store for many years</hi>” – while , in the midst of his rejoicing the Voice of God summons him with that awful summons . “<hi n="1" rend="underline">Thou fool! This night thy soul shall be required of thee!</hi>”<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_4571b1f7-658f-417a-a4ef-c54783aaa705" xml:lang="en">Thou fool! This night thy soul shall be required of thee! – Lk 12,20. </note> Do you not think that in <gap quantity="1" reason="deletion" unit="words"></gap> the poem thus arranged – <hi n="1" rend="underline">Earth</hi> might be shadowed forth, with sufficient variety & distinctness for musical purposes? – or have I made my notion clear to you – that such an adoption of the scriptural story, might combine not only those outward features of <gap quantity="1" reason="deletion" unit="words"></gap> – but those contrasts of human life, which are so impressive as<seg type="pagebreak"> |3|<pb n="3" type="pagebreak"></pb></seg> the imperfect Precursors of a future state of being? – Then, the second part would comprise. the rich man, placed amid the flames & torments of Hell – agonized for one drop of water – & afterwards with the remembrances of his unconverted brethren – while the poor despised beggar, reposes in Abraham’s bosom & answers the petitions of dives, with <gap quantity="1" reason="deletion" unit="words"></gap> gentle <gap quantity="1" reason="deletion" unit="words"></gap> but passionless reply of a beatified spirit, beyond the reach of <gap quantity="2" reason="deletion" unit="characters"></gap> being afflicted by pain & <unclear reason="uncertain_reading" resp="FMBC">stiring</unclear> & sorrow. If this ideas were adopted, you would have two contrasted characters throughout – & both, offering scope for a wide range of Expression & <choice resp="editor" source="autograph_edition_template" xml:id="choice_63db3b0f-7923-4fa0-9795-57766bd2fa8c"><sic resp="writer">developements</sic><corr resp="editor">developments</corr></choice> – I think moreover, that the whole could be well accomplished with scriptural word – & that whatever variety of voice, musical form &c. &c. was wanted, might be naturally & easily introduced without spoiling, or overencumbering the main great <gap quantity="4" reason="deletion" unit="characters"></gap> purpose. If my notion be at all such an one as you approve, let me hear soon from you – & I will then send you my ideas as to details &c. &c. &c. &c. To me it seems that there is in it the <hi n="1" rend="underline">material</hi> for a great work of universal application & interest: I need not say what pleasure it would give me to be associated with you, even in the humble capacity of compiler of <hi n="1" rend="underline">libretto</hi>. </p> <p>But I don’t know whether my more aspiring notions as to Opera may not come out sooner than I fancied, when we talked together – for the negociations concerning <title xml:id="title_57bf4012-34e3-4d53-a30f-8efa14f348c3">my play<name key="PSN0110376" style="hidden" type="author">Chorley, Henry Fothergill (1808-1872)</name><name key="CRT0112802" style="hidden" type="dramatic_work">Opernlibretto (1839)</name></title><note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_c8e725bc-d18b-44c7-8c61-4015531c2105" xml:lang="en">the negociations concerning my play – Das Opern-Libretto Chorleys konnte nicht ermittelt werden.</note> are assuming a very agreeable appearance – & I think I have more than a chance of its being produced. The prospect of coming to my trial so soon, has excited me not a little – & I am trying hard to subdue my too sanguine nature, so as not only to be prepared for – but even to expect <hi n="1" rend="underline">failure</hi> should my dramatic child make its appearance soon as now seems likely. – I mention this – believing I have your good wishes – & remembering my promise that in case my stars are kind, I will at once aspire to a partnership in some great lyrical work, on the back of which my name may ride behind yours – no one knows through how many biographical dictionaries!!!! – </p> <p>I have seen no one jet since my return – not even <persName xml:id="persName_28a674bc-eb93-4c65-83a3-565712795dc2">Klingemann<name key="PSN0112434" style="hidden" type="person">Klingemann, Ernst Georg Carl Christoph Konrad (1798-1862)</name></persName> – but<seg type="pagebreak"> |4|<pb n="4" type="pagebreak"></pb></seg> I came up from <placeName xml:id="placeName_285c3b40-da1d-4f9d-aa9a-d03aaed87cff">Liverpool<settlement key="STM0100512" style="hidden" type="locality">Liverpool</settlement><country style="hidden">Großbritannien</country></placeName> the other day, with <persName xml:id="persName_dfcc2efd-5947-4147-9289-3b6003c341bf">Blagrove<name key="PSN0109967" style="hidden" type="person">Blagrove, Henry Gamble (1811-1872)</name></persName>, who was at the <placeName xml:id="placeName_25195025-5959-4ae0-843c-a6604940de39">Norwich festival<name key="NST0104928" style="hidden" subtype="" type="institution">3. Norfolk and Norwich Triennial Musical Festival (1839)</name><settlement key="STM0100443" style="hidden" type="locality">Norwich</settlement><country style="hidden">Großbritannien</country></placeName> – & described <persName xml:id="persName_363fdfb8-4bbf-48e1-ba01-d0010b45e560">Spohr’s<name key="PSN0115032" style="hidden" type="person">Spohr, Louis (Ludewig) (1784-1859)</name></persName> reception as having been so warm as quite to confuse him in the performance of <title xml:id="title_d8476400-b655-48c7-87ae-ed6012b8419b">his new Concerto<name key="PSN0115032" style="hidden" type="author">Spohr, Louis (Ludewig) (1784-1859)</name><name key="CRT0110946" style="hidden" type="music">6. Sinfonie G-Dur, op. 116 (Historische Sinfonie)</name></title> – this appears to be a sort of historical <hi n="1" rend="underline">melange</hi><note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_875dcf3e-4b23-4055-ae18-64aed5fa9a12" xml:lang="en">a sort of historical melange – siehe dazu Brief gb-1839-11-01-02 Louis Spohr an Felix Mendelssohn Bartholdy in Leipzig, Kassel, 1. November 1839.</note> of many styles – al all events the old – the new.</p> <p>I will send you <hi n="1" rend="underline">my</hi> letters on German Music all together when the last has appeared: – but you will judge of my vexation when I tell you that the packet I sent from <placeName xml:id="placeName_972a011b-2788-4d27-ada5-a53e242836a2">Brunswick<settlement key="STM0100373" style="hidden" type="locality">Braunschweig</settlement><country style="hidden">Deutschland</country></placeName> <gap quantity="1" reason="deletion" unit="words"></gap> <add place="above">has<name key="PSN0110376" resp="writers_hand" style="hidden">Chorley, Henry Fothergill (1808-1872)</name></add> never reached England – my own family were in the greatest uneasiness – & the <hi n="1" rend="underline"><title xml:id="title_d2a6ae7e-142d-4d30-ad6a-4d8a3117c534">Athenaeum<name key="PSN0119969" style="hidden" type="author">Sterling, John</name><name key="CRT0112650" style="hidden" type="periodical">The Athenæum. Journal of Literature, Science, and the Fine Arts</name></title></hi><note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_0d0395a9-80af-45d5-978a-00f383efcbc8" xml:lang="en"> Athenaeum – The Athenaeum. Journal of Literature, Science, the Fine Arts, Music and the Drama, London 1839.</note> is deprived of my vivid first impressions of German Oratorio! <hi n="1" rend="underline">Schade</hi>! Can my inquisitive friend in the velvet coat have had anything to do with their stoppage? I have not often been so vexed. – <seg type="closer">And now I think I have given you a famous specimen of my powers of endurance as a scribbler, & will let you go – because I have no more room. Besides my affectionate regards to <persName xml:id="persName_cbbad1cc-24f3-4499-b67b-07eaf9733757">David<name key="PSN0110564" style="hidden" type="person">David, Ernst Victor Carl Ferdinand (1810-1873)</name></persName> & <persName xml:id="persName_2c3a0212-56b5-4ada-b121-df45f64315aa">M<hi rend="superscript">me</hi> D<name key="PSN0110574" style="hidden" type="person">David, Sophie Wilhelmine (1807-1893)</name></persName> – will you remember me gratefully to the gentlemen I know, if you think it worth while – & kindly to <persName xml:id="persName_9256ac8d-f5e9-4688-acf5-8b244cbe5efd">M<hi rend="superscript">lle</hi> Meerti<name key="PSN0113185" style="hidden" type="person">Meerti (eigtl. Meert), Elisa Jeanne Isabelle (1817-1878)</name></persName> – but most of all to <persName xml:id="persName_839374c3-48e5-45ea-bcbb-c8c2c6319750">your kind family<name key="PSN0113241" style="hidden" type="person">Mendelssohn Bartholdy, Familie von → Abraham Mendelssohn Bartholdy</name></persName><seg type="pagebreak"> |1|<pb n="1" type="pagebreak"></pb></seg> </seg><add place="top"><seg type="closer">at <placeName xml:id="placeName_ca97feae-0b9b-4968-ad8b-af96987b75b1">Berlin<settlement key="STM0100101" style="hidden" type="locality">Berlin</settlement><country style="hidden">Deutschland</country></placeName>. <gap quantity="1" reason="deletion" unit="words"></gap> I hope your last arrived blessing continues to thrive – God bless you – excusing all formalities believe me to be sincerely</seg> <seg type="signed">y<hi rend="superscript">rs</hi> Henry F. Chorley<name key="PSN0110376" resp="writers_hand" style="hidden">Chorley, Henry Fothergill (1808-1872)</name></seg></add></p> </div> <div n="2" type="act_of_writing" xml:id="div_ebe95afa-2ddd-4f3c-8dcf-36cadb006abf"> <docAuthor key="PSN0110376" resp="author" style="hidden" xml:id="docAuthor_4eb2130c-71e3-416e-bf60-35f017f3ec81">Chorley, Henry Fothergill (1808-1872)</docAuthor> <docAuthor key="PSN0110376" resp="writer" style="hidden" xml:id="docAuthor_48cffb08-9857-4635-8bcb-7515cb11c460">Chorley, Henry Fothergill (1808-1872)</docAuthor> <p style="paragraph_without_indent"><add place="top"><hi n="1" rend="underline"><date cert="high" when="1839-11-05" xml:id="date_8139d6df-5c1f-44ad-b055-385ad839519a">Tuesday</date></hi>. I`ve seen by this morning’s paper that <persName xml:id="persName_ae0c7a7b-8210-4d60-b33c-f4ec2838d174">Moscheles<name key="PSN0113441" style="hidden" type="person">Moscheles, Ignaz (Isack) (1794-1870)</name></persName> and <persName xml:id="persName_cf11c877-d66b-4d23-b0b3-17d8bc9afce8">Chapell<name key="PSN0110351" style="hidden" type="person">Chappell, William (1809-1888)</name></persName> have been playing at a <hi n="1" rend="underline">soiree</hi> at <placeName xml:id="placeName_cb6eb9ce-1169-4c58-80d2-39bb1c45f3d3">St Cloud<name key="NST0105134" style="hidden" subtype="" type="institution">Château de Saint-Cloud</name><settlement key="STM0105133" style="hidden" type="locality">Saint-Cloud</settlement><country style="hidden">Frankreich</country></placeName> with great effect in the presence of <persName xml:id="persName_47e923e2-bee4-41b4-99d2-46bfe147fce0">French royalty<name key="PSN0111147" style="hidden" type="person">Frankreich, Louis Philippe I. von, Duc de Valois, Chartres et Orléans (1773-1850)</name></persName>.<name key="PSN0110376" resp="writers_hand" style="hidden">Chorley, Henry Fothergill (1808-1872)</name></add></p> </div> </body> </text></TEI>