gb-1841-02-13-01
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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 [HANNOVER / 12 Feb.], [St.Post / 24 ? / ?4398], 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 Bartholdyin
Leipzig
To Charles Mendelssohn Bartholdy . – Oct. 26/40 .
at Naumburg.
because I am so busy that I cannot stir out, – I have chosen this peculiar opportunity to acknowledge your very welcome & friendly letter of the
G’sare flat – As to the stiffnesses you allude to – though no one is better aware of them, than I
castea ceremony was carried to the highest pitch: & a Lady declared that she would “let her daughter Julia join us, only one condition – that nobody should make love to her” – I assure you,
totidem verbis. “Because, if anybody does, – she shall leave the society that very instant”! – Yet, only a year after this terrible denunciation, one modesty was so high in the market, that Julia, & every other a of the company – was quite willing to go to
run to nothing! – So that with such pillars of propriety as
fancy benevolencedone to the working classes of
terribly: & told me when he was here in autumn – that he was the only person in Paris who knew anything about music! – And I believe his singing classes were interrupted to make way for his rehearsals of “
re.” – I really ought to write no more: with so much work as lies untouched before me. Farewell, then: remember me very kindly to
I have not sent a separate message of remembra
Noten: GB-Ob, M.D.M. d. 39/85, fol. 2v.
I don’t believe you have read
s
Now, while the Night with sad embrace hath kissed The Earth to Silence, save for winds that grieve, – My heart is counting o’er the things I leave With tender watchfulness that none be missed: And, mid the ties which years will scarce untwist Thou, – bright haired Boy! – a tiny thread didst weave, With those deep Eyes that look but to believe, And that blithe voice – O! may it Aye resist Merry as now, the harsher tones of Time! Thou wilt forget me ere again we meet, And I am town-ward bound - to play the Mime – Mid worldly men, – perchance Myself to cheat! Fit is it then, that one atoning rhyme, So fair a glimpse of Heaven as thee, should greet!
at Naumburg. Oct. 26/40.
9 Chapel Street Belgrave Square Saturday evg. Feb: 13/41 My dear Mendelssohn. – You are too well aware of the ferocity of the human animal – not to understand why, – because I am so busy that I cannot stir out, – I have chosen this peculiar opportunity to acknowledge your very welcome & friendly letter of the twenty fourth of January . Thanks for the Evangile – when I have an hour, I will read it reverently and diligently – & put my poor wits to work upon it. And many thanks for my knife – It is all I have to remind me of the best friend I ever had, and I grieved over its supposed loss, more than I could tell you. – though get indifferent to relies – for the love is poor that will not last without them. – And here is my poor sonnet to your little boy: which a solitary link of the chain of rhymes I made during my last journey. – I suppose there is the same pleasure in that form of composition – from its many restrictions that you great musicians find in canons ac. ac. – I am glad to be remembered by Carl: & if he will give a little recall of love for me in keeping to the newest arrived – till I can make it up myself – it will be very well. – Indeed I cannot but feel very gratefully attached to your hours: but on this I believe we agreed not to speak. – Our musical Society goes on very well we do the “miserere” of Allegri. & the “Ave” of Mendelssohn – & hymns of Palestrina & a graduale of Hummel: & sing wonderfully – save after a champagne supper … Liszt’s when a good many G’s are flat – As to the stiffnesses you allude to – though no one is better aware of them, than I you they are not insurmountable. Many years ago, I formed a Musical society in Lancashire: where the fence of caste a ceremony was carried to the highest pitch: & a Lady declared that she would “let her daughter Julia join us, only one condition – that nobody should make love to her” – I assure you, totidem verbis. “Because, if anybody does, – she shall leave the society that very instant”! – Yet, only a year after this terrible denunciation, one modesty was so high in the market, that Julia, & every other a of the company – was quite willing to go to, without any other escort than the stray gentlemen of the company. The English are curios people: & when they once thaw, are apt to run to nothing! – So that with such pillars of propriety as Klingemann, Mr Horsley & Myself to support Moscheles & Benedict: I am in good hope, that we shall flourish without misunderstanding or scandal. – Mainzers plan, was a bit of fancy benevolence done to the working classes of Paris to bring himself into notice. I do not like him. He is very clever, I dare say: but he knows it terribly: & told me when he was here in autumn – that he was the only person in Paris who knew anything about music! – And I believe his singing classes were interrupted to make way for his rehearsals of “La Jacquerie” – that Opera, upon which Berlioz revenged himself by saying it was “an Opera in re. ” – I really ought to write no more: with so much work as lies untouched before me. Farewell, then: remember me very kindly to David, whom we are expecting with great pleasure here. I rejoice in his paternal triumphs in the great battle between Oppressed Ugliness with six cadences. & French ringlets without a note I hope the adopted daughter is not to fetched in search of
I have not sent a separate message of remembrance gratulations to Madame Mendelssohn because I know how close she belongs to you, & you to her. This will be a very strange reason: & after it is over, I hardly know what to look for planning a meeting with you at Rome? or
I don’t believe you have read Antony & Cleopatra yet! – By think me quite crazy for thus hopping from one subject to another. Do you know anything of this collection of ancient German songs adressed acquainance, M. Zuccalmaglio? – If it be not very voluminous I should be glad to subscribe for it.
Affly Yrs Henry F. Chorley
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Sie bietet neben der diplomatischen Wiedergabe der rund 6.000 Briefe Mendelssohns erstmals auch eine Gesamtausgabe der über 7.200 Briefe an den Komponisten sowie einen textkritischen, inhalts- und kontexterschließenden Kommentar aller Briefe. Sie wird ergänzt durch eine Personen- und Werkdatenbank, eine Lebenschronologie Mendelssohns, zahlreicher Register der Briefe, Werke, Orte und Körperschaften sowie weitere Verzeichnisse. Philologisches Konzept / Philologische FMB-C-Editionsrichtlinien: Uta Wald, Dr. Ulrich Taschow. Digitales Konzept / Digitale FMB-C-Editionsrichtlinien: Dr. Ulrich Taschow. Technische Konzeption der Felix Mendelssohn Bartholdy Correspondence (FMB-C) Ausgabe und Webdesign: Dr. Ulrich Taschow.</p> </editorialDecl> </encodingDesc> <profileDesc> <creation> <date cert="high" when="1841-02-13" xml:id="date_ad09006a-ca94-43f8-9375-8c219bd8d309">13. Februar 1841</date> </creation> <correspDesc> <correspAction type="sent"> <persName key="PSN0110376" resp="author" xml:id="persName_68c71e31-bfff-4089-9564-f9ab91f02b31">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_39a618ba-fc2f-40ec-b5c6-4c61416694b1"> <settlement key="STM0100126">London</settlement> <country>Großbritannien</country> </placeName> </correspAction> <correspAction type="received"> <persName key="PSN0000001" resp="receiver" xml:id="persName_69194067-fc51-44d3-9eda-4875e513ceb9">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</persName> <placeName type="receiving_place" xml:id="placeName_63bb1dac-9dc6-457c-b2b9-56de967405dc"> <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_5f257848-cee0-49b6-9ee8-10801db340b8"> <head> <address> <addrLine>Herrn Musikdirektor</addrLine> <addrLine> <hi rend="latintype">D<hi rend="superscript">r</hi> Mendelssohn Bartholdy</hi> </addrLine> <addrLine> <hi rend="latintype">in</hi> </addrLine> <addrLine> <hi rend="latintype">Leipzig</hi> </addrLine> </address> </head> </div> <div n="1" type="act_of_writing" xml:id="div_00b5e446-3561-453d-98af-ca847014976d"> <docAuthor key="PSN0110376" resp="author" style="hidden" xml:id="docAuthor_aaa6d799-6c48-4631-b29e-7e6ee74c9d5a">Chorley, Henry Fothergill (1808-1872)</docAuthor> <docAuthor key="PSN0110376" resp="writer" style="hidden" xml:id="docAuthor_a305563c-4b7e-41d5-9142-5c28a12003e1">Chorley, Henry Fothergill (1808-1872)</docAuthor> <head rend="left">To <persName xml:id="persName_b163df38-4921-457b-8fc2-1bd166d0dc2f">Charles Mendelssohn Bartholdy<name key="PSN0113251" style="hidden" type="person">Mendelssohn Bartholdy, Carl (seit ca. 1859: Karl) Wolfgang Paul (1838-1897)</name></persName>. – </head> <p style="paragraph_without_indent"> <lg rend="center" type="verse" xml:id="lg_b48ee389-78de-4eb5-a52f-c26450d0f92b"> <l xml:id="l_0a3272bc-ac42-4a2f-af5f-5d10b6fcc9ca">Now, while the Night with sad embrace hath kissed</l> <l xml:id="l_b6a97500-e17e-41c0-a752-0d96b0406d7d">The Earth to Silence, save for winds that grieve, – </l> <l xml:id="l_2c4618a4-322f-4b5d-b3f9-b24de80bfe1b">My heart is counting o’er the things I leave</l> <l xml:id="l_923c4702-9d21-4d40-9e8b-22983721558b">With tender watchfulness that none be missed: </l> <l xml:id="l_d9b43cb0-2fdb-46c3-8179-33b5f4816c75">And, mid the ties which <gap quantity="1" reason="deletion" unit="words"></gap> <add place="above">years<name key="PSN0110376" resp="writers_hand" style="hidden">Chorley, Henry Fothergill (1808-1872)</name></add> will scarce untwist</l> <l xml:id="l_1bb5cad7-b1e3-499c-a31a-66fdff9e17e1">Thou, – bright haired Boy! – a tiny thread didst weave,</l> <l xml:id="l_084da40f-d3d1-4f79-9d0b-9250ba216167">With those deep Eyes that look but to believe,</l> <l xml:id="l_4c23e1d3-efc7-4f53-ae98-de4883f0c1fc">And that blithe voice – O! may it Aye resist<hi rend="bold"></hi></l> <l xml:id="l_90f06cfb-0451-4933-b3b4-f3fab9ce1e1e">Merry as now, the harsher tones of Time!</l> <l xml:id="l_5b70da6c-2ff9-4054-9287-39dbea922095">Thou wilt forget me ere again we meet, </l> <l xml:id="l_27f26ca6-ba98-4c1e-a3bf-0fc3516dbebb">And I am town-ward bound - to play the Mime</l> <l xml:id="l_265fa56e-bff6-4aec-b0d8-226d30308684">– Mid worldly men, – perchance Myself to cheat!</l> <l xml:id="l_eda107cd-26ac-4bda-8b00-a18ec6eab11a">Fit is it then, that one atoning rhyme,</l> <l xml:id="l_c5c4e9e8-87a2-497d-902f-a68c31e7170d">So fair a glimpse of Heaven as thee, should greet!</l> </lg> </p> <dateline rend="right"><hi n="1" rend="underline">at Naumburg</hi>. <date cert="high" when="1840-10-26" xml:id="date_1dbfdcc7-5d9b-4e39-8dfd-25bd2cd5a953">Oct. 26/40</date>.</dateline> </div> <div n="2" type="act_of_writing" xml:id="div_03239513-d6c3-42d5-aa64-b2db1c7ea17b"> <docAuthor key="PSN0110376" resp="author" style="hidden" xml:id="docAuthor_5613c013-e7b6-44bd-8158-932509cf8df0">Chorley, Henry Fothergill (1808-1872)</docAuthor> <docAuthor key="PSN0110376" resp="writer" style="hidden" xml:id="docAuthor_c14ae3c1-c193-4bd2-afc5-9d1c4acc05e2">Chorley, Henry Fothergill (1808-1872)</docAuthor> <dateline rend="right">9 Chapel Street Belgrave Square <date cert="high" when="1841-02-13" xml:id="date_453453ed-ccbb-4ab5-a9f2-363fe4fd6d99">Saturday evg. Feb: 13/41</date></dateline> <p style="paragraph_without_indent"><seg type="salute">My dear Mendelssohn.</seg> – You are <add place="above">too<name key="PSN0110376" resp="writers_hand" style="hidden">Chorley, Henry Fothergill (1808-1872)</name></add> well aware of the ferocity of the human animal – not to understand why, – <hi n="1" rend="underline">because</hi> I am so busy that I cannot stir out, – I have chosen this peculiar opportunity to acknowledge your very welcome & friendly letter of the <title xml:id="title_41c5857e-50df-4c4f-889e-043a5bb426b4">twenty fourth of January <name key="PSN0000001" style="hidden" type="author">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</name> <name key="fmb-1841-01-24-02" style="hidden" type="letter">Felix Mendelssohn Bartholdy an Henry Fothergill Chorley in London, adressiert an Carl Klingemann; Leipzig, 24. Januar 1841</name> </title>. Thanks for the Evangile<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_ca37440d-839a-4903-8540-4f4bf3b521c9" xml:lang="en">thanks for the Evangile – Das Evangelium nach Nikodemus ist ein wahrscheinlich auf das 2. Jahrhundert zurückgehender, um 420 redigierter apokrypher christlicher Text. Er thematisiert nach einem Prolog, der fiktive Angaben zur Entstehung des Evangeliums bietet, den Prozess, der Jesus gemacht wurde, die Kreuzigung Jesu, das Schicksal Josefs von Arimathäa und einen Abstieg Christi in die Unterwelt sowie sein Handeln dort.</note> – when I have an hour, I will read it reverently and diligently – & put my poor wits to work upon it. And many thanks for my knife<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_7be36eb2-cf4e-48e5-aeed-4da0af94b652" xml:lang="en">my knife – Chorley hatte dieses Messer, ein ihm besonders wertvolles Erinnerungsstück an seinen 1834 verstorbenen Jugendfreund aus Liverpool Benson Rathbone, bei seinem Besuch bei Mendelssohn in Leipzig versehentlich zurückgelassen. Siehe Bledsoe, Henry Fothergill Chorley, S. 110. </note> – It is all I have to remind me of the <persName xml:id="persName_786ab38d-96fc-4b21-bf81-5cb1703bed63">best friend<name key="PSN0114078" style="hidden" type="person">Rathbone, Benson (1800-1834)</name></persName> I ever had,<seg type="pagebreak"> |2|<pb n="2" type="pagebreak"></pb></seg> and I grieved over its supposed loss, more than I could tell you. – though get indifferent to relies – for the love is poor that will not last without them. – And here is my <title xml:id="title_bd3d70eb-d8e8-43df-b691-83675e2797f7">poor sonnet<name key="PSN0110376" style="hidden" type="author">Chorley, Henry Fothergill (1808–1872)</name><name key="CRT0112960" style="hidden" type="literature">Sonnet for Charles Mendelssohn Bartholdy</name></title> to your little boy: <unclear reason="deletion" resp="FMBC">which</unclear> a solitary link of <unclear reason="covering" resp="FMBC">the</unclear> chain of rhymes I made during my last journey. – I suppose there is the same pleasure in that form of composition – from its many restrictions that you great musicians find in canons ac. ac. – I am glad to be remembered by <persName xml:id="persName_aba6cf7b-59e8-4698-8590-3668b9dddfa9">Carl<name key="PSN0113251" style="hidden" type="person">Mendelssohn Bartholdy, Carl (seit ca. 1859: Karl) Wolfgang Paul (1838-1897)</name></persName>: & if he will give a little recall of love <add place="above">for me<name key="PSN0110376" resp="writers_hand" style="hidden">Chorley, Henry Fothergill (1808-1872)</name></add> in keeping to the newest arrived – till I can make it up myself – it will be very well. – Indeed I cannot but feel very gratefully attached to your hours: but on this I believe we agreed not to speak. – Our <placeName xml:id="placeName_bfdf511e-34c5-4896-81c7-e74faf70f7f8">musical Society<name key="NST0105244" style="hidden" subtype="" type="institution">Musical Society London</name><settlement key="STM0100126" style="hidden" type="locality">London</settlement><country style="hidden">Großbritannien</country></placeName> goes on very well<seg type="pagebreak"> |3|<pb n="3" type="pagebreak"></pb></seg> we do the <title xml:id="title_29e90a92-bef0-46bc-b3af-c3259eb45380">“miserere” of Allegri<name key="PSN0109439" style="hidden" type="author">Allegri, Gregorio (1582–1652)</name><name key="CRT0107632" style="hidden" type="music">Miserere mei Deus g-Moll</name></title>. & the<title xml:id="title_066e2790-ed40-4c01-be61-ceae7e0d6e64"> “Ave” of Mendelssohn<list style="hidden" type="fmb_works_directory" xml:id="list_3f51c811-afa4-483c-ad38-2494a97a860b"><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="sacred_vocal_works_with_smaller_instrumentation" style="hidden"></item></list><name key="PSN0000001" style="hidden" type="author">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</name><name key="PRC0100129" style="hidden">Ave Maria (Offertorium) für Tenor solo, gemischten Chor a cappella bzw. mit Begleitung, 30. September 1830; 16. Oktober 1830<idno type="MWV">B 19</idno><idno type="op">23/2</idno></name></title> – & <title xml:id="title_446eea5b-b5ec-4605-9f67-0e08f1706e4a">hymns of Palestrina<name key="PSN0113727" style="hidden" type="author">Palestrina, Giovanni Pierluigi da (?-1594)</name><name key="CRT0112962" style="hidden" type="music">Hymnen</name></title> & a <title xml:id="title_6864ea9d-995e-4839-a070-2ae8a99c8aa8">graduale of Hummel<name key="PSN0112147" style="hidden" type="author">Hummel, Johann Nepomuk (1778–1837)</name><name key="CRT0109413" style="hidden" type="music">Graduale »Quod quod in orbe« für vierstimmigen Chor op. 88</name></title>: & sing wonderfully – save after a champagne supper […] <persName xml:id="persName_80b02f0c-d669-4709-8e06-4bcaa2f6e385">Liszt’s<name key="PSN0112894" style="hidden" type="person">Liszt, Franz (Ferenc) (1811-1886)</name></persName> when a good many <hi n="1" rend="underline">G’s</hi> are flat – As to the stiffnesses you allude to – though no one is better aware of them, than I <unclear reason="deletion" resp="FMBC">you</unclear> they are <add place="above">not<name key="PSN0110376" resp="writers_hand" style="hidden">Chorley, Henry Fothergill (1808-1872)</name></add> insurmountable. Many years ago, I formed a <placeName xml:id="placeName_ee3a0cde-b93b-4bdf-96b2-7396381db4dc">Musical society in Lancashire<name key="NST0105246" style="hidden" subtype="" type="institution">Musical Society of Lancashire</name><settlement key="STM0105245" style="hidden" type="locality">Lancashire</settlement><country style="hidden">Großbritannien</country></placeName>: where the fence of <hi n="1" rend="underline">caste</hi> a ceremony was carried to the highest pitch: & a Lady declared that she would “let her daughter Julia join us, only one condition – that nobody should make love to her” – I assure you, <hi n="1" rend="underline">totidem verbis</hi>.<note resp="FMBC" style="hidden" type="translation" xml:id="note_6c10ac7d-7a6c-4ad4-b071-640b7ab75f24" xml:lang="la ">totidem verbis – lat., mit vielen Worten.</note> “Because, if anybody does, – she shall leave the society that very instant”! – Yet, only a year after this terrible denunciation, one modesty was so high in the market, that Julia, & every other a of the company – was quite willing to go to <gap quantity="1" reason="uncertain_reading" unit="words"></gap>, without any other escort than the stray gentlemen of the company. The English are curios people: & when they once thaw, are apt to <hi n="1" rend="underline">run to nothing</hi>! – So that with such pillars of propriety as <persName xml:id="persName_6632ae20-7024-43d1-a436-32f4249247a8">Klingemann<name key="PSN0112434" style="hidden" type="person">Klingemann, Ernst Georg Carl Christoph Konrad (1798-1862)</name></persName>, <persName xml:id="persName_b200fa3b-9790-4f58-92b0-449f00f01563">Mr Horsley<name key="PSN0112109" style="hidden" type="person">Horsley, William (1774-1858)</name></persName> & <persName xml:id="persName_bf0cda8c-9d03-45e0-bddb-5e026fd0ae39">Myself<name key="PSN0110376" style="hidden" type="person">Chorley, Henry Fothergill (1808-1872)</name></persName> to support <persName xml:id="persName_a25f080b-ad49-464f-8fdd-ebeae6dab4e5">Moscheles<name key="PSN0113441" style="hidden" type="person">Moscheles, Ignaz (Isack) (1794-1870)</name></persName> & <persName xml:id="persName_69a8c4c4-399f-4e38-8ad8-f6ed041ed44c">Benedict<name key="PSN0109851" style="hidden" type="person">Benedict, (seit 1871) Sir Julius (Jules) (vorh. Isaac) (1804-1885)</name></persName>: I am in good hope, that we shall flourish without misunderstanding or scandal. – <persName xml:id="persName_47ccda3a-4feb-4c92-b428-6f5951e0d277">Mainzers<name key="PSN0113046" style="hidden" type="person">Mainzer, Joseph (1801-1851)</name></persName> plan,<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_88f1ad09-d10b-400a-bd87-f4bee7a64634" xml:lang="en">Mainzers plan – Joseph Mainzer machte damals in Paris durch eine von ihm initiierte Singbewegung der unteren Schichten des Volks von sich reden. Mainzer schrieb hauptsächlich für Le National, Le Réformateur und Revue et gazette musicale, aber auch vereinzelt für La Balance, Le Monde dramatique, Revue des deux mondes, La France musicale und Revue de Paris. Siehe Kerry Murphy, Joseph Mainzer’s ›sacred and beautiful mission‹: an aspect of parisian musical life of the 1830s, in: Music & Letters, Vol. 75, No. 1 (Februar 1994), S. 37.</note> was a bit of <hi n="1" rend="underline">fancy benevolence</hi> done to the working classes of <placeName xml:id="placeName_3781ae10-af42-4653-99e7-ca62e07e4034">Paris<settlement key="STM0100105" style="hidden" type="locality">Paris</settlement><country style="hidden">Frankreich</country></placeName> to bring himself into notice. I do not like him. He is very clever, I dare say: but he knows it <hi n="1" rend="underline">terribly</hi>: & told me when he was here in autumn – that he was the only person in Paris who knew anything about music! – And I believe his singing classes were interrupted to make way for his rehearsals of “<title xml:id="title_c5c6c485-ded2-490d-a824-c7da29337c59">La Jacquerie”<name key="PSN0113046" style="hidden" type="author">Mainzer, Joseph (1801–1851)</name><name key="CRT0112815" style="hidden" type="music">La Jacquerie</name></title> – that Opera, upon which <persName xml:id="persName_2c707468-f923-43e7-8bdf-acd7b0075559">Berlioz<name key="PSN0109886" style="hidden" type="person">Berlioz, Louis Hector (1803-1869)</name></persName> revenged himself by saying it was “an Opera in <hi n="1" rend="underline">re</hi>.” – I really ought to write no more: with so much work as lies untouched before me. Farewell, then: remember me very kindly to <persName xml:id="persName_560cbcd8-c1d7-44c0-b751-9809c06dbfe6">David<name key="PSN0110564" style="hidden" type="person">David, Ernst Victor Carl Ferdinand (1810-1873)</name></persName>, whom we are expecting with great pleasure here. I rejoice in his paternal triumphs in the great battle between Oppressed<seg type="pagebreak"> |4|<pb n="4" type="pagebreak"></pb></seg> Ugliness with six cadences. & French ringlets without a note <gap quantity="1" reason="covering" unit="words"></gap> I hope the adopted daughter is not to fetched in search of <gap quantity="1" reason="covering" unit="words"></gap> </p> <p>I have not sent a separate message of remembra<unclear reason="covering" resp="FMBC">nce gra</unclear>tulations to <persName xml:id="persName_c1bd12a8-8bd6-4a5c-8848-daada464b814">Madame Mendelssohn<name key="PSN0113252" style="hidden" type="person">Mendelssohn Bartholdy, Cécile Sophie Charlotte (1817-1853)</name></persName> because I know ho<unclear reason="covering" resp="FMBC">w close</unclear> she belongs to you, & you to her. This will be a very strange <gap quantity="1" reason="covering" unit="words"></gap> reason: & after it is over, I hardly know what to look for <unclear reason="covering" resp="FMBC">planning</unclear> a meeting with you at <placeName xml:id="placeName_34aa7c6b-57e6-4e75-9905-ed89a6146d3b">Rome<settlement key="STM0100177" style="hidden" type="locality">Rom</settlement><country style="hidden">Italien</country></placeName>? or </p> <p> <figure rend="inline_big_size" style="center" subtype="half_page" type="notated_Music" xml:id="figure_5900a59e-99e1-4751-8e9e-30724417877f"> <graphic url="https://www.felix-mendelssohn-bartholdy.org/_api/letters/letter_image/Noten/gb-1841-02-13-01-N-001.jpg"></graphic> <head style="display_none">Noten: GB-Ob, M.D.M. d. 39/85, fol. 2v. </head> <figDesc style="display_none">Notenzitat von Henry Fothergill Chorley zur Charakterisierung eines Ortes. Zitat konnte noch nicht ermittelt werden.</figDesc> </figure> </p> <p>I don’t believe you <hi n="1" rend="underline">have</hi> read <title xml:id="title_db9a8411-1c01-484e-83fb-6f552ce8b302">Antony & Cleopatra<name key="PSN0114889" style="hidden" type="author">Shakespeare, William (1564–1616)</name><name key="CRT0110855" style="hidden" type="dramatic_work">Antonius und Cleopatra (Anthony and Cleopatra)</name></title><note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_34a5e9d8-8abd-4dee-b5b0-611da6a75eaf" xml:lang="en">you have read Antony and Cleopatra – Chorley hatte Mendelssohn bereits in seinem Brief vom 31. Januar 1841 (Brief gb-1841-01-31-02) an sein Versprechen erinnert, Shakespeares »Anthony and Cleopatra« zu lesen.</note> yet! – By <gap quantity="1" reason="deletion" unit="words"></gap> think me quite crazy for thus hopping from one subject to ano<unclear reason="covering" resp="FMBC">ther.</unclear> <unclear reason="covering" resp="FMBC">Do you</unclear> know anything of this collection of ancient German songs adr<unclear reason="covering" resp="FMBC">essed</unclear> <gap quantity="2" reason="covering" unit="words"></gap> acquainance, M. <persName xml:id="persName_777300a3-d935-494e-8d49-34c60c3ebcf0">Zuccalmaglio<name key="PSN0115939" style="hidden" type="person">Zuccalmaglio, Anton Wilhelm Florentin von (Pseud.: Wilhelm von Waldbrühl, Dorfküster Wedel u. a.) (1803-1869)</name></persName>? – If it be not very voluminous <gap quantity="2" reason="covering" unit="words"></gap> I should be glad to subscribe for it. </p> <closer rend="right">Affly Yr<hi rend="superscript">s</hi></closer> <signed rend="right">Henry F. Chorley</signed> </div> </body></text></TEI>