gb-1840-03-13-02
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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 at EDIN R? / A / MAR 28 / 1840], [LONDON / 30 / MAR / 1840], [F / PAID / 30 MR 30 / 1840], [St. Post / 6 APR / I.8-10], Siegel. – Der Brief ist vollständig in lateinischen Buchstaben geschrieben.
John Thomson
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
rFelix Mendelssohn BartholdyLeipzig
I was much gratified with
notto hold the Festival till
1841
Accept my best thanks for your kind congratulations on my appointment to the Professorship. I am now preparing to open the campaign next winter, but being quite unaccustomed to public speaking
I have to congratulate you too on the appearance of your second Domestic Opera
Your friends here are all well, so far as I have seen them. I was sorry to find that rs Horsleyamiable for your sake, shall make an effort to go to the country, whereyour friend
The GB-Ob, M.D.M. d. 37/125 fol. 2r.
angles were acquiduced. The favorite passage appearing in the last movement thus
unsymphonic.
I am much obliged to you for your information regarding
Verkennius
orchestralwhen I say instrumental music, but my Concert did not take place in
noise. You must not speak of your “
badE e ” letter for truth to say it is not by any means deserving of that character. Few know the language better than yourself as your own letter itself distinctly shows.
London 13 March 1840. My dear Sir/
I was much gratified with your letter of the 18° of December, and did not reply to it immediately, because I could not be certain there whether our projected Festival was to take place next October. It was only the day before I left Edinburgh on a visit to this wilderness of brick and human beings that it was agreed not to hold the Festival till Oct. 1841. because a splendid new Hall, now in contemplation, could not be finished before that time. I take the earliest opportunity therefore of letting you know that our Festival is not to take place this year, so that your arrangements may not any longer be retarded or interfered with. But I cannot lose sight of the object I had in view – your presence among us when we have a Festival: however there is now abundance of time to speak and write about this.
Accept my best thanks for your kind congratulations on my appointment to the Professorship. I am now preparing to open the campaign next winter, but being quite unaccustomed to public speaking I look forward to the occasion with fear of trembling – However the nervousness will wear off I trust, or else I would be constantly making matters worse.
I have to congratulate you too on the appearance of your second Domestic Opera. I hope Madame and “the children” are quite well: and that I shall be more fortunate in my next visit to Leipzig than when Madame was ill of the measles.
Your friends here are all well, so far as I have seen them. I was sorry to find that Klingemann had been so poorly. he certainly is not looking so well as he was wont to do: but I believe he is convalescent. The Moscheles family I have seen often. Little Felix is one of the most comical little fellows I ever met with. he is really full of drollery. I called on the Horsleys the other day, and found Mrs Horsley confined to the house with a swelled knee: indeed I believe she has been much of an invalid for some time past. Two of the girls and John are I find, going to Germany to visit their brother and mean to take Leipzig on their route. Enviable people! I have not yet set eyes upon the amiable Clara Novello: but for your sake, shall make an effort to go to the country, where all now reside. it is near the Horsleys at Bayswater. I dined with your friend Edward Taylor the other day. Since Spohr’s visit to Norwich he can speak or think of nothing else: so on certain subjects we maintain a signified silence.
The Philharmonic opened the season on Monday last with a diminished number of subscribers not more I hear than 350! A different arrangement of the orchestra has been made, with good effect I think. It is thus The raspering of the Contra Bassi in forte perhaps is thus mellowed down and the Violins being the thrown forward bring out the leading ideas of the author more efficiently.
A new Symphony of Spohr in C minor commenced the Concert but not a new idea. all the old phrases, modulations, harmonies, all the old angles were acquiduced. The favorite passage appearing in the last movement thus the constant modulation too was present in the slow movement The first movement began with: but the middle subject which was treated principally was just one of Auber’s most fashionable Operatic melodies – quite unsymphonic. Bennett played charmingly Beethoven’s Concerto in C. Blagrove performed Rode’s in D minor in his usual coldly concert style, all Forza no feeling. The singing by Mesdames Villowen was indifferent they were Tenet automatons. Spohr’s Trio from Zemire was excelently done.
I am much obliged to you for your information regarding Bach. I shall most certainly avail myself of your kind reference to Verkennius. I beg to thank you also for your attentions to my friend Drysdale, who appreciates them not a little. I am glad to find you so well employed in composition: and I trust we shall one day enjoy the fruits of your exertion. It was then a mistake regarding Birmingham. Thus people will but perhaps you may get be invited there although we wish any Oratorio except St. Paul repeated, which I hear is to be done. There is to be a Festival at York and one at Hereford –. I mean orchestral when I say instrumental music, but my Concert did not take place in February as I had hoped owing to the shortness of time for me to prepare for it. Next February I shall have it to a certainty: – and hope that it will make a good noise. You must not speak of your “bad english” letter for truth to say it is not by any means deserving of that character. Few know the language better than yourself as your own letter itself distinctly shows.
With many thanks for your kindness in writing believe me I am Yours very truly
John Thomson
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Dezember 1839</title> <title key="unknown" type="successor">unbekannt</title> <author key="PSN0115318">Thomson, John (1805-1841)</author> <respStmt><resp resp="writer"></resp><persName key="PSN0115318" resp="writer">Thomson, John (1805-1841)</persName></respStmt><respStmt resp="transcription"> <resp resp="transcription">Transkription: </resp> <name resp="transcription">FMB-C</name> </respStmt> <respStmt resp="edition"> <resp resp="edition">Edition: </resp> <name resp="edition">FMB-C</name> </respStmt> </titleStmt> <publicationStmt> <publisher>Felix Mendelssohn Bartholdy Correspondence Online-Ausgabe (FMB-C). Institut für Musikwissenschaft und Medienwissenschaft. 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März 1840</title><incipit>I was much gratified with your letter of the 18° of December , and did not reply to it immediately, because I could not be certain there whether our projected Festival was to take place</incipit></msItem></msContents><physDesc><p>1 Doppelbl.: S. 1-4 Brieftext; S. 4 Adresse, 4 Poststempel [PAID at EDIN R? / A / MAR 28 / 1840], [LONDON / 30 / MAR / 1840], [F / PAID / 30 MR 30 / 1840], [St. Post / 6 APR / I.8-10], Siegel. – Der Brief ist vollständig in lateinischen Buchstaben geschrieben.</p><handDesc hands="1"><p>John Thomson</p></handDesc><accMat><listBibl><bibl type="none"></bibl></listBibl></accMat></physDesc><history><provenance><p>Green Books</p> </provenance></history></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="1840-03-13">13. März 1840</date> </creation> <correspDesc> <correspAction type="sent"> <persName key="PSN0115318" resp="author">Thomson, John (1805-1841)</persName><note>counter-reset</note><persName key="PSN0115318" resp="writer">Thomson, John (1805-1841)</persName> <placeName type="writing_place"> <settlement key="STM0100126">London</settlement><country>Großbritannien</country> </placeName> </correspAction> <correspAction type="received"> <persName key="PSN0000001" resp="receiver">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</persName> <placeName type="receiving_place"> <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_6d1d532d-8357-4cab-acd9-4b417ce74633"><head><address><addrLine><hi n="1" rend="underline">D<hi rend="superscript">r</hi> Felix Mendelssohn Bartholdy</hi></addrLine><addrLine><hi n="1" rend="underline">Leipzig</hi></addrLine></address></head></div> <div n="1" type="act_of_writing"> <docAuthor key="PSN0115318" resp="author" style="hidden">Thomson, John (1805-1841)</docAuthor> <docAuthor key="PSN0115318" resp="writer" style="hidden">Thomson, John (1805-1841)</docAuthor> <dateline rend="right">London <date cert="high" when="1840-03-13">13 March 1840</date>.</dateline> <salute rend="left">My dear Sir/</salute> <p style="paragraph_without_indent">I was much gratified with <title>your letter of the 18° of December <name key="PSN0000001" style="hidden" type="author">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</name> <name key="fmb-1839-12-18-01" style="hidden" type="letter">Felix Mendelssohn Bartholdy an John Thomson in Edinburgh; Leipzig, 18. Dezember 1839</name> </title>, and did not reply to it immediately, because I could not be certain there whether <placeName xml:id="placeName_a8efa52a-8243-40dd-994c-51b654fb76ae">our projected Festival<name key="NST0103625" style="hidden" subtype="" type="institution">Edinburgh Musical Festival (1840, nicht realisiert)</name><settlement key="STM0100316" style="hidden" type="locality">Edinburgh</settlement><country style="hidden">Großbritannien</country></placeName> was to take place <date cert="high" notAfter="1840-10-31" notBefore="1840-10-01" xml:id="date_3235639a-ce2a-417d-ba0c-f59d7698edde">next October</date>. It was only the day before I left <placeName xml:id="placeName_eafbfbb2-7d9d-4fd0-9687-fef7558d3b46">Edinburgh<settlement key="STM0100316" style="hidden" type="locality">Edinburgh</settlement><country style="hidden">Großbritannien</country></placeName> on a visit to this wilderness of brick and human beings that it was agreed <hi n="1" rend="underline">not</hi> to hold the Festival till <date cert="high" notAfter="1841-10-31" notBefore="1841-10-01" xml:id="date_40b070eb-ca9c-4f6f-90ea-bf5bfef645ea">Oct. <hi n="1" rend="underline">1841</hi></date>. because a splendid new Hall, now in contemplation, could not be finished before that time. I take the earliest opportunity therefore of letting you know that our Festival is not to take place this year,<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_73432510-3548-91b48-2e90e-58ceb9a80507" xml:lang="de">our Festival is not to take place this year – Thomson hatte Mendelssohn zuvor zu dem für Herbst 1840 geplanten Festival nach Edinburgh eingeladen; siehe Brief gb-1839-11-04-02 John Thomson an Felix Mendelssohn Bartholdy in Leipzig, Edinburgh, 4. November 1839. Dieser hatte die Einladung angenommen; siehe Brief fmb-1839-12-18-01 (Brief Nr. 2547) Felix Mendelssohn Bartholdy an John Thomson in Edinburgh, Leipzig, 18. Dezember 1839.</note> so that your arrangements may not any longer be retarded or interfered with. But I cannot lose sight of the object I had in view – your presence among us when we have a Festival: however there is now abundance of time to speak and write about this.</p> <p>Accept my best thanks for your kind congratulations on my appointment to the Professorship.<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_78a2b26c-abe7-b06fc-524cf-ff5d01991273" xml:lang="de">your kind congratulations on my appointment to the Professorship – John Thomson war 1839 zum ersten »Reid Professor of Music« an der Universität Edinburgh ernannt worden, wozu Felix Mendelssohn Bartholdy ihm gratulierte; siehe Brief fmb-1839-12-18-01 (Brief Nr. 2547) Felix Mendelssohn Bartholdy an John Thomson in Edinburgh, Leipzig, 18. Dezember 1839. Zuvor hatte Thomson Mendelssohn um ein Zeugnis für seine Bewerbung gebeten; siehe Brief gb-1838-08-24-03 John Thomson an Felix Mendelssohn Bartholdy in Leipzig; Wien, 24. August 1838. Mendelssohn entsprach Johnsons Wunsch; siehe Brief fmb-1838-09-10-02, (Brief Nr. 2088) Felix Mendelssohn Bartholdy an John Thomson in Leipzig (?), Leipzig, 10. September 1838.</note> I am now preparing to open the campaign next winter, but being quite unaccustomed to public speaking<seg type="pagebreak"> |2|<pb n="2" type="pagebreak"></pb></seg> I look forward to the occasion with fear of trembling – However the nervousness will wear off I trust, or else I would be constantly making matters worse.</p> <p>I have to congratulate you too on the appearance of your second <persName xml:id="persName_6a3e32b1-abe2-439f-8c91-5a760ccf13df"><hi n="1" rend="underline">Domestic Opera</hi><name key="PSN0113261" style="hidden" type="person">Mendelssohn Bartholdy, Marie Pauline Helene (1839-1897)</name></persName>.<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_389bd376-7c84-c3b91-16595-5279e44cee7b" xml:lang="de">the appearance of your second Domestic Opera – Das zweite Kind der Mendelssohns, die Tochter Marie Pauline Helene, war am 2. Oktober 1839 in Leipzig geboren worden.</note> I hope <persName xml:id="persName_4fef781c-2e03-4ecc-9e2c-19f4b25ef69e">Madame<name key="PSN0113252" style="hidden" type="person">Mendelssohn Bartholdy, Cécile Sophie Charlotte (1817-1853)</name></persName> and <persName xml:id="persName_97abd865-0fd2-440b-8bd6-5d20e464065b">“the children”<name key="PSN0113251" style="hidden" type="person">Mendelssohn Bartholdy, Carl (seit ca. 1859: Karl) Wolfgang Paul (1838-1897)</name><name key="PSN0113261" style="hidden" type="person">Mendelssohn Bartholdy, Marie Pauline Helene (1839-1897)</name></persName> are quite well: and that I shall be more fortunate in my next visit to Leipzig than when Madame was ill of the measles.</p> <p>Your friends here are all well, so far as I have seen them. I was sorry to find that <persName xml:id="persName_0c496bef-0a51-46fe-b1cf-1e0bd621d7d9">Klingemann<name key="PSN0112434" style="hidden" type="person">Klingemann, Ernst Georg Carl Christoph Konrad (1798-1862)</name></persName> had been so poorly. he certainly is not looking so well as he was wont to do: but I believe he is convalescent. The <persName xml:id="persName_87f0fc98-b1e6-486d-b1d0-536c019a1104">Moscheles family<name key="PSN0113434" style="hidden" type="person">Moscheles, Familie von → Ignaz M.</name></persName> I have seen often. Little <persName xml:id="persName_e53a716a-dcb5-4498-bb4b-54e4c30afe1c">Felix<name key="PSN0113440" style="hidden" type="person">Moscheles, Felix Stone (1833-1917)</name></persName> is one of the most comical little fellows I ever met with. he is really full of drollery. I called on the <persName xml:id="persName_ae4b94e5-f4c3-4852-9bc4-137e54fd3281">Horsleys<name key="PSN0112100" style="hidden" type="person">Horsley, Familie von → William H.</name></persName> the other day, and found <persName xml:id="persName_a990fb03-8ab5-455e-a3a6-8bbc96db7dc2">M<hi rend="superscript">rs</hi> Horsley<name key="PSN0112103" style="hidden" type="person">Horsley, Elizabeth Hutchins (1793-1875)</name></persName> confined to the house with a swelled knee: indeed I believe she has been much of an invalid for some time past. <persName xml:id="persName_5e01fd8c-56fa-4cfe-a9f5-01f9da344dc1">Two of the girls<name key="PSN0112108" style="hidden" type="person">Horsley, Sophia Hutchins (Sophy) (1819-1894)</name><name key="PSN0112105" style="hidden" type="person">Horsley, Frances Arabella (Fanny) → Thompson (1815-1849)</name></persName> and <persName xml:id="persName_ec81ba75-a071-42d9-8c66-fd86b2f1c56e">John<name key="PSN0112106" style="hidden" type="person">Horsley, John Callcott (1817-1903)</name></persName> are I find, going to <placeName xml:id="placeName_a31e30e0-3532-49c3-8a54-9049ae0cbe88">Germany<settlement key="STM0104839" style="hidden" type="locality">Deutschland</settlement><country style="hidden">Deutschland</country></placeName> to visit <persName xml:id="persName_90e1b1b4-fc2d-4482-a370-c84b0d1a339e">their brother<name key="PSN0112102" style="hidden" type="person">Horsley, Charles Edward (1822-1876)</name></persName> and mean to take <placeName xml:id="placeName_45fc7bc7-4eb8-4850-bf70-943b86ab39b1">Leipzig<settlement key="STM0100116" style="hidden" type="locality">Leipzig</settlement><country style="hidden">Deutschland</country></placeName> on their route. Enviable people! I have not yet set eyes upon the <hi n="1" rend="underline">amiable</hi> <persName xml:id="persName_42c01c2e-ff08-4276-8fa0-82e0c74c7e62">Clara Novello<name key="PSN0113621" style="hidden" type="person">Novello, Clara Anastasia (1818-1908)</name></persName>: but <hi n="1" rend="underline">for your sake</hi>, shall make an effort to go to the country, where<seg type="pagebreak"> |3|<pb n="3" type="pagebreak"></pb></seg> all now reside. it is near the <persName xml:id="persName_3087d4f4-b8c9-4e32-873e-68fbb514f44e">Horsleys<name key="PSN0112100" style="hidden" type="person">Horsley, Familie von → William H.</name></persName> at <placeName xml:id="placeName_d633548a-272f-455a-83d2-48c67d191b99">Bayswater<settlement key="STM0100689" style="hidden" type="locality">Bayswater</settlement><country style="hidden">Großbritannien</country></placeName>. I dined with <hi n="1" rend="underline">your friend</hi> <persName xml:id="persName_4045989f-df0e-4688-94b3-8548fee323b0">Edward Taylor<name key="PSN0115268" style="hidden" type="person">Taylor, Edward (1784-1863)</name></persName> the other day. Since <persName xml:id="persName_b94a4317-158f-490b-a1ac-e7f260040adb">Spohr’s<name key="PSN0115032" style="hidden" type="person">Spohr, Louis (Ludewig) (1784-1859)</name></persName> visit to <placeName xml:id="placeName_b73ffd46-8573-46f0-b509-dfa34a28f57c">Norwich<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> he can speak or think of nothing else: so on certain subjects we maintain a signified silence.</p> <p>The <placeName xml:id="placeName_2260b091-51ef-4a85-8f32-e65439d390b8">Philharmonic<name key="NST0100287" style="hidden" subtype="" type="institution">Philharmonic Society</name><settlement key="STM0100126" style="hidden" type="locality">London</settlement><country style="hidden">Großbritannien</country></placeName> opened the season on <date cert="high" when="1840-03-09">Monday last</date> with a diminished number of subscribers not more I hear than 350! A different arrangement of the orchestra has been made, with good effect I think. It is thus <figure rend="inline_big_size" style="center" subtype="half_page" type="drawing"><graphic url="https://www.felix-mendelssohn-bartholdy.org/_api/letters/letter_image/Zeichnungen/gb-1840-03-13-02-Z-001.jpg"></graphic><head style="display_none">GB-Ob, M.D.M. d. 37/125 fol. 2r.</head><figDesc style="display_none">Orchesteraufstellung der Philharmonic Society in London, 1840.</figDesc></figure>The <unclear reason="uncertain_reading" resp="FMBC">raspering</unclear> of the Contra Bassi in forte perhaps is thus mellowed down and the Violins being the thrown forward bring out the leading ideas of the author more efficiently.</p> <p><title xml:id="title_fcfac123-85fc-47a5-84f7-242016050aa0">A new Symphony of Spohr in C minor<name key="PSN0115032" style="hidden" type="author">Spohr, Louis (Ludewig) (1784–1859)</name><name key="CRT0110945" style="hidden" type="music">5. Sinfonie c-Moll, op. 102</name></title> commenced the Concert but <unclear reason="seal_tear-off" resp="FMBC">not</unclear> a new idea. all the old phrases, modulations, harmonies, all the old <hi n="1" rend="underline">ang<unclear reason="seal_tear-off" resp="FMBC">les</unclear></hi> were acquiduced. The favorite passage appearing in the last movement thus <figure rend="inline_big_size" style="left" subtype="quarter_page" type="notated_Music"><graphic url="https://www.felix-mendelssohn-bartholdy.org/_api/letters/letter_image/Noten/gb-1840-03-13-02-N-001.jpg"></graphic><head style="display_none">GB-Ob, M.D.M. d. 37/125 fol. 2r</head><figDesc style="display_none">Notennotat aus Louis Spohrs 5. Sinfonie c-Moll, op. 102.</figDesc></figure> the constant modulation too was present in the slow movement <figure rend="inline_big_size" style="left" subtype="quarter_page" type="notated_Music"><graphic url="https://www.felix-mendelssohn-bartholdy.org/_api/letters/letter_image/Noten/gb-1840-03-13-02-N-002.jpg"></graphic><head style="display_none">GB-Ob, M.D.M. d. 37/125 fol. 2r.</head><figDesc style="display_none">Notennotat aus Louis Spohrs 5. Sinfonie c-Moll, op. 102.</figDesc></figure> The first movement began with: but the middle subject which was treated principally was just one of <persName xml:id="persName_2cc461c0-5661-403b-b9a1-963df25c7332">Auber<name key="PSN0109578" style="hidden" type="person">Auber, Daniel-François-Esprit (1782-1871)</name></persName>’s most fashionable Operatic melodies – quite <hi n="1" rend="underline">unsymphonic</hi>. <persName xml:id="persName_457e947e-6d58-4e4a-a40b-23ae80a40108">Bennett<name key="PSN0109864" style="hidden" type="person">Bennett, (seit 1871) Sir William Sterndale (1816-1875)</name></persName> played charmingly <title xml:id="title_43e30f97-1b96-4e01-a7f7-4479d3d1e342">Beethoven’s Concerto in C<name key="PSN0109771" style="hidden" type="author">Beethoven, Ludwig van (1770–1827)</name><name key="CRT0108016" style="hidden" type="music">3. Klavierkonzert c-Moll, op. 37</name></title>. <persName xml:id="persName_e2c43455-99ec-4a17-840b-fbcfdd6639c9">Blagrove<name key="PSN0109967" style="hidden" type="person">Blagrove, Henry Gamble (1811-1872)</name></persName> performed <title xml:id="title_15b4e9d2-1795-4ee5-9f91-4733b34d36bb">Rode’s in D minor<name key="PSN0114251" style="hidden" type="author">Rode, Jacques Pierre Joseph (1774–1830)</name><name key="CRT0112995" style="hidden" type="music">Violinkonzert Nr. 1 d-Moll</name></title> in his <unclear reason="covering" resp="FMBC">us</unclear>ual coldly concert style, all Forza no feeling. The singing by <persName xml:id="persName_c9cb38bd-e7c8-41e7-850e-17a682bb0ad9">Mesdames Villowen<name key="PSN0120338" style="hidden" type="person">Villowen, Louisa</name><name key="PSN0120342" style="hidden" type="person">Villowen-Caton, E.</name></persName> was indifferent they were <unclear reason="uncertain_reading" resp="FMBC">Tenet</unclear> automatons. <title xml:id="title_1694b7b4-555c-430f-b0f6-a08c50e4904a">Spohr’s Trio from Zemire<name key="PSN0115032" style="hidden" type="author">Spohr, Louis (Ludewig) (1784–1859)</name><name key="CRT0110961" style="hidden" type="music">Zemire und Azor WoO 52</name></title> was <unclear reason="uncertain_reading" resp="FMBC">excelently</unclear> done.</p> <p>I am much obliged to you for your information regarding <title xml:id="title_9525da0b-39bb-4355-b042-facb1baf5714">Bach<name key="PSN0113108" style="hidden" type="author">Marx, Adolph Bernhard (1795–1866)</name><name key="CRT0111583" style="hidden" type="music">Johann Sebastian Bach, Kirchen-Musik [BWV 101 bis 106] (Herausgabe)</name></title>.<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_1dda746a-8fa9-6eabd-19897-e43618325467" xml:lang="de">your information regarding Bach – Mendelssohn hatte Johnson auf Nachfrage einige Werke von Johann Sebastian Bach empfohlen. Neben den sechs bei Simrock als Kirchen-Musik erschienen Kantaten BWV 101-106 die Kantate zum Himmelfahrtstage »Gott fährt auf mit Jauchzen«, die am 4. Juni 1838 beim 20. Niederrheinischen Musikfest in Köln zur Aufführung gekommen war. Mendelssohn hatte letztere mit den Kantaten »Gott fährt auf mit Jauchzen« BWV 43, »Es ist nichts Gesundes an meinem Leibe« BWV 25 sowie »Nun ist das Heil und die Kraft« BWV 50 kombiniert (Klavierauszug: GB-Ob, Deneke 38); siehe Brief fmb-1839-12-18-01 (Brief Nr. 2547) Felix Mendelssohn Bartholdy an John Thomson in Edinburgh, Leipzig, 18. Dezember 1839, Z. 27 ff. Vgl. zu dieser Kompilation auch Großmann-Vendrey, Musik der Vergangenheit, S. 92 f., sowie Anselm Hartinger, Felix Mendelssohn Bartholdy und Bachs »Himmelfahrtskantate« auf dem Kölner Musikfest 1838. Aufführungspraktische, quellenkundliche und ästhetische Konnotationen, in: »Zu groß, zu unerreichbar«. Bach-Rezeption im Zeitalter Mendelssohns und Schumanns, hrsg. von Anselm Hartinger, Christoph Wolff und Peter Wollny, Wiesbaden u. a. 2007, S. 281–314.</note> I shall most certainly avail myself of your kind reference to <persName xml:id="persName_5464e1a1-2b33-4b5a-8487-d6d693cd554e"><hi n="1" rend="underline">Verkennius</hi><name key="PSN0115488" style="hidden" type="person">Verkenius, Erich Heinrich Wilhelm (1776-1841)</name></persName>. I beg to thank you also for your attentions to my friend <persName xml:id="persName_a841fa59-c26a-47e3-8753-9046800359ae">Drysdale<name key="PSN0110757" style="hidden" type="person">Drysdale, John James (1815-1892)</name></persName>,<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_0041b6fa-c9d8-384a2-c7852-5816cf29f82d" xml:lang="de">your attentions to my friend Drysdale – John James Drysdale, der Überbringer von Thomsons Brief vom 4. November 1839 (Brief gb-1839-11-04-02 John Thomson an Felix Mendelssohn Bartholdy in Leipzig, Edinburgh, 4. November 1839), traf am 16. November 1839 in Leipzig ein; siehe den Eintrag vom 16. November 1839 in Mendelssohns »Fremdenliste« (GB-Ob, M.D.M. c. 49, fol. 25r).</note> who appreciates them not a little. I am glad to find you so well employed in<seg type="pagebreak"> |4|<pb n="4" type="pagebreak"></pb></seg> composition: and I trust we shall one day enjoy the fruits of your exertion. It was then a mistake regarding<placeName xml:id="placeName_04b7ea14-fc50-4cf2-bfa4-6a423fe9f219"> Birmingham<name key="NST0100324" style="hidden" subtype="" type="institution">The Birmingham Triennial Music Festival</name><settlement key="STM0100323" style="hidden" type="locality">Birmingham</settlement><country style="hidden">Großbritannien</country></placeName>.<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_b10bb9ae-b0a6-a008d-025aa-4663d444723a" xml:lang="de">mistake regarding Birmingham – Mendelssohn hatte in seinem Brief vom 18. Dezember 1839 richtiggestellt, dass er kein neues Oratorium explizit für das Birmingham Triennial Music Festival 1840 schrieb; siehe Brief fmb-1839-12-18-01 (Brief Nr. 2547) Felix Mendelssohn Bartholdy an John Thomson in Edinburgh, Leipzig, 18. Dezember 1839, Z. 14-19: »But your idea of my writing a new Oratorio for Birmingham is a mistake, which I think is occasioned by some public statements, that such was the case, and which I did not contradict, as I am very much afraid of such public affairs. I never had another Oratorio ordered for Birmingham, nor have I heard of the Festival which is to take place there, and do not know whether I shall be present to it, or not.«</note> <unclear reason="uncertain_reading" resp="FMBC">Thus</unclear> people will <gap quantity="2" reason="uncertain_reading" unit="words"></gap> but perhaps you may get be invited there although we wish any Oratorio except <title xml:id="title_94a95300-4bf7-41b7-b6fa-4bd5b72d969d">St. Paul<list style="hidden" type="fmb_works_directory"><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="PRC0100114" style="hidden">Paulus / St. Paul, Oratorium nach Worten der Heiligen Schrift für Solostimmen, gemischten Chor, Orchester und Orgel, [1832] bis 18. April 1836<idno type="MWV">A 14</idno><idno type="op">36</idno></name></title> repeated, which I hear is to be done. There is to be a <placeName xml:id="placeName_3a5dff26-3722-4b66-9856-7a442d79daf4">Festival at York<name key="NST0103851" style="hidden" subtype="" type="institution">Yorkshire Grand Musical Festival (1840, nicht realisiert)</name><settlement key="STM0103850" style="hidden" type="locality">York</settlement><country style="hidden">Großbritannien</country></placeName> and one at <placeName xml:id="placeName_8d812761-c036-4f8f-b285-cf11be9569b6">Hereford<name key="NST0105269" style="hidden" subtype="" type="institution">Hereford Festival (1840)</name><settlement key="STM0105268" style="hidden" type="locality">Hereford</settlement><country style="hidden">Großbritannien</country></placeName> –. I mean <hi n="1" rend="underline">orchestral</hi> when I say instrumental music, but my Concert did not take place in <date cert="high" notAfter="1840-02-29" notBefore="1840-02-01" xml:id="date_827796e5-15cb-4152-9d3f-942c22c5f82f">February</date> as I had hoped owing to the shortness of time for me to prepare for it. <date cert="high" notAfter="1841-02-28" notBefore="1841-02-01" xml:id="date_28800c39-7576-43d7-a562-ed6293e658b6">Next February</date> I shall have it to a certainty: – and hope that it will make a good <hi n="1" rend="underline">noise</hi>. You must not speak of your “<hi n="1" rend="underline">bad <choice resp="writer" source="autograph_edition_template" xml:id="choice_a87ecce1-efa9-4579-bf4f-219ed0289a60"><corr resp="writer">E</corr><sic resp="writer">e</sic></choice>nglish</hi>” letter for truth to say it is not by any means deserving of that character. Few know the language better than yourself as your own letter itself distinctly shows.</p> <closer rend="left">With many thanks for your kindness in writing believe me I am</closer> <signed rend="right">Yours very truly</signed> <signed rend="right">John Thomson</signed> </div> </body> </text></TEI>