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William Horsley und John Calcott Horsley an Felix Mendelssohn Bartholdy in Leipzig <lb></lb>London, vor dem 30. Mai 1841 You can easily imagine the hurry in which my family has been, since the return of Sophy and Charles from Germany, and their sister’s marriage, and, therefore, you will not be surprised to learn, that Felix Mendelssohn Bartholdy Correspondence Online (FMB-C) Felix Mendelssohn Bartholdy an William Horsley in Kensington; Leipzig, 15. März 1841 Felix Mendelssohn Bartholdy an William Horsley in Kensington; Leipzig, 12. März 1843 Horsley, John Callcott (1817-1903) Horsley, William (1774-1858) Horsley, John Callcott (1817-1903) Horsley, William (1774-1858) Transkription: FMB-C Edition: FMB-C Felix Mendelssohn Bartholdy Correspondence Online-Ausgabe (FMB-C). Institut für Musikwissenschaft und Medienwissenschaft. Humboldt-Universität zu Berlin
Am Kupfergraben 5 10117 Berlin Deutschland
http://www.mendelssohn-online.com Creative Commons Attribution 4.0 International (CC BY 4.0)

Maschinenlesbare Übertragung der vollständigen Korrespondenz Felix Mendelssohn Bartholdys (FMB-C)

 Großbritannien Oxford GB-Ob Oxford, Bodleian Library Music Section M.D.M. d. 39/244 und M.D.M. d. 39/240. Autograph William Horsley und John Calcott Horsley an Felix Mendelssohn Bartholdy in Leipzig; London, vor dem 30. Mai 1841 You can easily imagine the hurry in which my family has been, since the return of Sophy and Charles from Germany, and their sister’s marriage, and, therefore, you will not be surprised to learn, that

1 Doppelbl. und 1 Bl.: S. 1-6 Brieftext; S. 6 Adresse, 3 Poststempel [HANNOVER / 30/5], [N ?/6 2], [St.Post /6 JUN / ?], Siegel. Der Brief ist vollständig in lateinischen Buchstaben geschrieben.

– Datierung: Datierung nach dem Poststempel aus Hannover vom 30. Mai 1841. Erwähnt wird die Hochzeit von Frances Arabella (Fanny) Horsley (22. April 1841).

William Horsley, John Calcott Horsley.

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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.

 30. Mai 1841 Horsley, John Callcott (1817-1903) Horsley, William (1774-1858) counter-resetHorsley, William (1774-1858) Horsley, John Callcott (1817-1903) London Großbritannien Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847) Berlin Deutschland englisch
Dr Felix Mendelssohn Bartholdy par adr. Frau Stadträthin Mendelssohn Bartholdy Leipziger Straße No 3 Berlin. Verte LeipzigUnbekannt Nach Leipzig nach zu senden Unbekannt Briefträger Hauert Unbekannt
Horsley, William (1774-1858) Horsley, William (1774-1858) My Dear Friend Mendelssohn

You can easily imagine the hurry in which my familyHorsley, Familie von → William H. has been, since the return of SophyHorsley, Sophia Hutchins (Sophy) (1819-1894) and CharlesHorsley, Charles Edward (1822-1876) from Germany, and their sister’sHorsley, Frances Arabella (Fanny) → Thompson (1815-1849) marriage,sister’s marriage – Fanny Horsley heriatete am 22. April 1841 den Arzt Seth Thompson (1807-1861). and, therefore, you will not be surprised to learn, that this is the first moment which I have had to write to you. Let me now, without any preface, return You my most sincere and grateful thanks for the cordial reception which you gave to my sonHorsley, Charles Edward (1822-1876), and the valuable assistance which you afforded to him.the valuable assistance which you afforded to him – Charles Edward Horsley kam am 29. Dezember 1840 in Leipzig an; siehe Leipziger Tageblatt und Anzeiger Nr. 356, 20. Dezember 1840, S. 3008. In den Jahren 1841 bis 1843 war er Schüler von Felix Mendelssohn Bartholdy; siehe Charles Edward Horsley, Reminiscences of Mendelssohn by His English Pupil, in: Mendelssohn and His World, hrsg. von Larry Todd, Princeton 1992, S. 239. I was most anxious that he should go to LeipsigLeipzigDeutschland, and enjoy you Society there for some time; not only on account of the excellentHorsley, William (1774-1858) instruction which you might give to him, but, more especially, on account of the Moral influence, which your example would not fail onHorsley, William (1774-1858) his future actions. I have had very fewHorsley, William (1774-1858) opportunities of hearing him, since his return – nor have I been able to give more than a glance at his compositions. But I have heard, and seen, enough to convince me that his visit to Germany has been of the greatest avail to him – that he has had advantages which few of his countrymen ever possess – and that, if he avail himself not of them, and rise notHorsley, William (1774-1858) to eminence in his art, the fault will be his own. |2| Now let me speak of your excellent wifeMendelssohn Bartholdy, Cécile Sophie Charlotte (1817-1853), and let me beg, that you would give to her my warmest thanks for the great kindness which she showed towards my children. In reflecting on their visit to LeipsigLeipzigDeutschland, no small portion of my pleasure arises from this circumstance – that it has certainly drawn the bonds of our friendship closer than they were before. Ever since I have known you, it has been my earnest desire, that I, and my family, should deserve and enjoy your esteem; and I have never doubted that we did enjoy it. But now, so much seems to be added to our mutual regard – so many hints to our friendship which never existed before – that if we live to meet again, we shall meet almost like members of the same family. You will fell how much I allude, here, to the affection, which Sophy and Madame F Mendelssohn have conceived for each other: tell your cara sposa,cara sposa – ital., liebe Braut. Vielleicht eine Anspielung auf das berühmte Lamento »Cara sposa« des Rinaldo, der seine Geliebte im Geiste sucht, in Georg Friedrich Händels Oper Rinaldo HWV 7. that I always had a high regard for her, because she was your Choice, but that now I love her, because she is my children’s friend. CharlesHorsley, Charles Edward (1822-1876) and SophyHorsley, Sophia Hutchins (Sophy) (1819-1894) give a most interesting account of your little onesMendelssohn Bartholdy, Familie von → Felix Mendelssohn Bartholdy. I long to embrace them, and hope, that you will not come again to England, and have them in Germany.

We must not, I suppose, entertain any hope of seeing you among us till the next Birmingham FestivalThe Birmingham Triennial Music FestivalBirminghamGroßbritannien: that, I trust, will bring you hither. But come when you will, you will find Music in a very |3| unsatisfactory state. There is quite as much more made about it – there is, perhaps, quite as much money spent on it – there is, however, no encouragement for fine arts, nor for him who would cultivate it. In the PalaceBuckingham PalaceLondonGroßbritannien nothing pleases but Waltzes and Galops, and at the OperaOpera Concert RoomLondonGroßbritannien DonizettiDonizetti, Domenico Gaetano Maria (1797-1848), BelliniBellini, Vincenzo Salvatore Carmelo Francesco (1801-1835), and others of the “stip stop” school, have silenced, and chased away, all the great writers. But the PhilharmonicPhilharmonic SocietyLondonGroßbritannien? The Philharmonic, my friend, is hastening rapidly to decay. Last year we were obliged to part with a considerable portion of our capitals, in order to pay our expenses, and this year, unless I am much mistaken we must part with more. Nothing, in my opinion, will save this Society from dissolution, but refinding the Concerts; reverting to our original design, and trusting to our own resources for amusement and improvement. Will that step be tardily? – I think not.

The affairs of the SocietyPhilharmonic SocietyLondonGroßbritannien are now altogether in the hands of the Orchestra, the members of which have contrived, by various means, to obtain a majority at all our general meetings; and they I fear will go on dividing our capital among them while there is a hundred pounds left.

But the whole body of instrumental performers (there I mean who compose our Orchestras) is now in a |4| lammentablelamentable state; and, in some degree, they have brought mischief on themselves. About two years ago, certain of our principal men established a “MusardMusard, Philippe (1792-1859)” Concert“Musard” Concert – Philippe Musard war ein französischer Komponist, der maßgeblich zur Entwicklung und Popularität des Promenadenkonzerts beitrug. Als eine der berühmtesten Persönlichkeiten Europas in den 1830er- und 1840er-Jahren waren seine Konzerte in Paris und London riesige Erfolge. Bekannt ist Musard vor allem für seine Galopp- und Quadrille-Stücke, bei dener er in der Regel berühmte Themen anderer Komponisten entlehnte. Musard spielt eine wichtige Rolle in der Entwicklung der leichten klassischen Musik, der Fähigkeit zur Publizität in der Musik und in der Rolle des Dirigenten als musikalischem Star. Nach seiner Pensionierung Anfang der 1850er-Jahre geriet er weitgehend in Vergessenheit. at the English Opera houseEnglish Opera HouseLondonGroßbritannien, to which the Public was admitted on payment of one shilling. The thing took vainly – the house was crowded every night – the undertakers got about two pounds a week each, and, as they took no trouble to regard future consequences, nothing could exceed their delight. But their success was ruin to them, for it induced others to form similar establishments, which, after a time, died away, leaving the field open to Mr EliasonEliason, Eduard (1808-1886). He, last year, gave “Summer Concerts” and “Winter Concerts” in Drury Lane TheatreDrury Lane TheatreLondonGroßbritannien, and, it is said, made a considerable sum of money by them. But mark the result. To render his performances more attractive, Eliason did not confine himself to Quadrilles and Waltzes – he gave Mozart<name key="PSN0113466" style="hidden" type="author">Mozart, Wolfgang Amadeus (1756-1791)</name><name key="CRT0110131" style="hidden" type="music">Sinfonien</name> and Beethoven’s Symphonies<name key="PSN0109771" style="hidden" type="author">Beethoven, Ludwig van (1770-1827)</name><name key="CRT0108061" style="hidden" type="music">Sinfonien</name>, Weber<name key="PSN0115645" style="hidden" type="author">Weber, Carl Maria Friedrich Ernst von (1786-1826)</name><name key="CRT0112073" style="hidden" type="music">Ouvertüre</name> and Spohr’s Over<hi rend="superscript">s</hi><name key="PSN0115032" style="hidden" type="author">Spohr, Louis (Ludewig) (1784-1859)</name><name key="CRT0113197" style="hidden" type="music">Ouvertüren</name>Overs – Overtures. &c &c, and John Bull,John Bull – John Bull ist sowohl eine nationale Personifikation des Königreichs Großbritannien als auch eine wohlmeinende Karikatur des stockkonservativen Einwohners Großbritanniens. who has always an eye to his pocket, having heard them for a shilling will not be easily tempted to give a much higher price. It is, then, no wonder that the PhilharmonicPhilharmonic SocietyLondonGroßbritannien-Subscription should be low, and that the greater |5| Beginn des Briefteils in GB-Ob, M.D.M. d. 39/240. part of those who have taken benefit Concerts should find themselves losers. In the midst of such a state of things, I fear that our amiable friend DavidDavid, Ernst Victor Carl Ferdinand (1810-1873) finds himself sadly disappointed. We are delighted with his Society, and that of his wifeDavid, Sophie Wilhelmine (1807-1893), but we are, nevertheless, grieved that his reception, this year, is not such as it was when he visited us before: – I say this in great confidence. Before I conclude, I must not omit to inform you, that the BroadwoodsJohn Broadwood & Sons, Klavierfabrik in London have most handsomely presented CharlesHorsley, Charles Edward (1822-1876) with a fine Grand Piano: this act of theirs is not only beneficial to him – it is also highly gratifying to me. He has now an additional motive to practice – for he and SophyHorsley, Sophia Hutchins (Sophy) (1819-1894) made loud complaints against my old instrument – and I hope he will labour to carry out the valuable hints he has received from you. We all think him very much improved in his playing, and, when I heard one of his Capriccios<name key="PSN0110564" style="hidden" type="author">David, Ernst Victor Carl Ferdinand (1810-1873)</name><name key="CRT0113198" style="hidden" type="music">Capriccios</name> I immediately became sensible of the good company which he had been lately keeping.

All here desire to present their kindest regards to you and Madame FelixMendelssohn Bartholdy, Cécile Sophie Charlotte (1817-1853) – my wifeHorsley, Elizabeth Hutchins (1793-1875) will write when David returns – and with all good and friendly wishes, I remain my Dear friend, Yours most faithfully Wm Horsley
Horsley, John Callcott (1817-1903) Horsley, John Callcott (1817-1903)

|6| My dear Mendelssohn. Wie geht’s Hofrath?Hofrath – Mendelssohn wurde in der Familie Horsley häufig mit dem Spitznamen »Hofrath« angeredet. My best love to dearest CecileMendelssohn Bartholdy, Cécile Sophie Charlotte (1817-1853). I have an inresistable inclination to open Sophy’sHorsley, Sophia Hutchins (Sophy) (1819-1894) and the Childrens letter to write you one line & asure you that I sorry to say that I have no chance seeing you in Germany this year.

I am still as ever Your most sincere friend John Calcott Horsley. 
            My Dear Friend Mendelssohn
You can easily imagine the hurry in which my family has been, since the return of Sophy and Charles from Germany, and their sister’s marriage, and, therefore, you will not be surprised to learn, that this is the first moment which I have had to write to you. Let me now, without any preface, return You my most sincere and grateful thanks for the cordial reception which you gave to my son, and the valuable assistance which you afforded to him. I was most anxious that he should go to Leipsig, and enjoy you Society there for some time; not only on account of the excellent instruction which you might give to him, but, more especially, on account of the Moral influence, which your example would not fail on his future actions. I have had very few opportunities of hearing him, since his return – nor have I been able to give more than a glance at his compositions. But I have heard, and seen, enough to convince me that his visit to Germany has been of the greatest avail to him – that he has had advantages which few of his countrymen ever possess – and that, if he avail himself not of them, and rise not to eminence in his art, the fault will be his own. Now let me speak of your excellent wife, and let me beg, that you would give to her my warmest thanks for the great kindness which she showed towards my children. In reflecting on their visit to Leipsig, no small portion of my pleasure arises from this circumstance – that it has certainly drawn the bonds of our friendship closer than they were before. Ever since I have known you, it has been my earnest desire, that I, and my family, should deserve and enjoy your esteem; and I have never doubted that we did enjoy it. But now, so much seems to be added to our mutual regard – so many hints to our friendship which never existed before – that if we live to meet again, we shall meet almost like members of the same family. You will fell how much I allude, here, to the affection, which Sophy and Madame F Mendelssohn have conceived for each other: tell your cara sposa, that I always had a high regard for her, because she was your Choice, but that now I love her, because she is my children’s friend. Charles and Sophy give a most interesting account of your little ones. I long to embrace them, and hope, that you will not come again to England, and have them in Germany.
We must not, I suppose, entertain any hope of seeing you among us till the next Birmingham Festival: that, I trust, will bring you hither. But come when you will, you will find Music in a very unsatisfactory state. There is quite as much more made about it – there is, perhaps, quite as much money spent on it – there is, however, no encouragement for fine arts, nor for him who would cultivate it. In the Palace nothing pleases but Waltzes and Galops, and at the Opera Donizetti, Bellini, and others of the “stip stop” school, have silenced, and chased away, all the great writers. But the Philharmonic? The Philharmonic, my friend, is hastening rapidly to decay. Last year we were obliged to part with a considerable portion of our capitals, in order to pay our expenses, and this year, unless I am much mistaken we must part with more. Nothing, in my opinion, will save this Society from dissolution, but refinding the Concerts; reverting to our original design, and trusting to our own resources for amusement and improvement. Will that step be tardily? – I think not.
The affairs of the Society are now altogether in the hands of the Orchestra, the members of which have contrived, by various means, to obtain a majority at all our general meetings; and they I fear will go on dividing our capital among them while there is a hundred pounds left.
But the whole body of instrumental performers (there I mean who compose our Orchestras) is now in a lammentable state; and, in some degree, they have brought mischief on themselves. About two years ago, certain of our principal men established a “Musard” Concert at the English Opera house, to which the Public was admitted on payment of one shilling. The thing took vainly – the house was crowded every night – the undertakers got about two pounds a week each, and, as they took no trouble to regard future consequences, nothing could exceed their delight. But their success was ruin to them, for it induced others to form similar establishments, which, after a time, died away, leaving the field open to Mr Eliason. He, last year, gave “Summer Concerts” and “Winter Concerts” in Drury Lane Theatre, and, it is said, made a considerable sum of money by them. But mark the result. To render his performances more attractive, Eliason did not confine himself to Quadrilles and Waltzes – he gave Mozart and Beethoven’s Symphonies, Weber and Spohr’s Overs &c &c, and John Bull, who has always an eye to his pocket, having heard them for a shilling will not be easily tempted to give a much higher price. It is, then, no wonder that the Philharmonic-Subscription should be low, and that the greater part of those who have taken benefit Concerts should find themselves losers. In the midst of such a state of things, I fear that our amiable friend David finds himself sadly disappointed. We are delighted with his Society, and that of his wife, but we are, nevertheless, grieved that his reception, this year, is not such as it was when he visited us before: – I say this in great confidence. Before I conclude, I must not omit to inform you, that the Broadwoods have most handsomely presented Charles with a fine Grand Piano: this act of theirs is not only beneficial to him – it is also highly gratifying to me. He has now an additional motive to practice – for he and Sophy made loud complaints against my old instrument – and I hope he will labour to carry out the valuable hints he has received from you. We all think him very much improved in his playing, and, when I heard one of his Capriccios I immediately became sensible of the good company which he had been lately keeping.
All here desire to present their kindest regards to you and Madame Felix – my wife will write when David returns – and with all good and friendly wishes, I remain my Dear friend, Yours most faithfully Wm Horsley
 My dear Mendelssohn. Wie geht’s Hofrath? My best love to dearest Cecile. I have an inresistable inclination to open Sophy’s and the Childrens letter to write you one line & asure you that I sorry to say that I have no chance seeing you in Germany this year.
I am still as ever Your most sincere friend John Calcott Horsley.          
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April 1841).</p> <handDesc hands="2"> <p>William Horsley, John Calcott Horsley.</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="1841-05-30" xml:id="date_b2aac617-477c-462a-b0cd-798d832cbb9a">30. Mai 1841</date> </creation> <correspDesc> <correspAction type="sent"> <persName key="PSN0112106" resp="author">Horsley, John Callcott (1817-1903)</persName> <persName key="PSN0112109" resp="author">Horsley, William (1774-1858)</persName> <note>counter-reset</note><persName key="PSN0112109" resp="writer">Horsley, William (1774-1858)</persName> <persName key="PSN0112106" resp="writer">Horsley, John Callcott (1817-1903)</persName> <placeName type="writing_place" xml:id="placeName_dbe1cea0-68f8-4b89-b479-c605c177056e"> <settlement key="STM0100126">London</settlement> <country>Großbritannien</country> </placeName> </correspAction> <correspAction type="received"> <persName key="PSN0000001" resp="receiver" xml:id="persName_2d6f010f-32f2-46a8-a1c5-45a425dce9a1">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</persName> <placeName type="receiving_place" xml:id="placeName_ffb26185-ee94-4232-887d-a58742baf467"> <settlement key="STM0100101">Berlin</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_f35b25c4-c5be-42f6-befd-978b5d7d224d"> <head> <address> <addrLine> <hi rend="latintype"> <hi n="1" rend="underline">Dr Felix Mendelssohn </hi> </hi> </addrLine> <addrLine> <hi rend="latintype"> <hi n="1" rend="underline">Bartholdy</hi> </hi> </addrLine> <addrLine> <hi rend="latintype"> <unclear reason="deletion" resp="FMBC">par adr. Frau Stadträthin</unclear> </hi> </addrLine> <addrLine> <hi rend="latintype"> <unclear reason="deletion" resp="FMBC">Mendelssohn Bartholdy</unclear> </hi> </addrLine> <addrLine> <hi rend="latintype"> <unclear reason="deletion" resp="FMBC">Leipziger Straße No 3</unclear> </hi> </addrLine> <addrLine><hi n="1" rend="underline"><hi rend="latintype"><unclear reason="deletion" resp="FMBC">Berlin</unclear></hi></hi>.</addrLine> <addrLine> <hi rend="latintype"> <unclear reason="deletion" resp="FMBC">Verte</unclear> </hi> </addrLine> <addrLine> <hi n="1" rend="underline"> <hi rend="latintype"> <add place="inline">Leipzig<name key="PSN0118477" resp="writers_hand" style="hidden">Unbekannt</name></add> </hi> </hi> </addrLine> <addrLine> <add place="inline"> <hi rend="latintype">Nach Leipzig nach zu senden</hi> <name key="PSN0118477" resp="writers_hand" style="hidden">Unbekannt</name> </add> </addrLine> <addrLine> <add place="inline"> <hi rend="latintype">Briefträger Hauert</hi> <name key="PSN0118477" resp="writers_hand" style="hidden">Unbekannt</name> </add> </addrLine> </address> </head> </div> <div n="1" type="act_of_writing" xml:id="div_f936d08a-e6c0-4c64-b920-c4ac7fa3398e"> <docAuthor key="PSN0112109" resp="author" style="hidden" xml:id="docAuthor_4cc08c67-8386-445e-9daa-3d3cd8c2acc1">Horsley, William (1774-1858)</docAuthor> <docAuthor key="PSN0112109" resp="writer" style="hidden" xml:id="docAuthor_75119d38-704b-4f4e-9b7c-651e8064ee49">Horsley, William (1774-1858)</docAuthor> <salute rend="left">My Dear Friend Mendelssohn</salute> <p style="paragraph_without_indent">You can easily imagine the hurry in which my <persName xml:id="persName_9a17019f-4819-451b-8500-5c0dfbdd57b7">family<name key="PSN0112100" style="hidden" type="person">Horsley, Familie von → William H.</name></persName> has been, since the return of <persName xml:id="persName_c39803f3-d0d3-4cb7-8db2-d5248f3bf25d">Sophy<name key="PSN0112108" style="hidden" type="person">Horsley, Sophia Hutchins (Sophy) (1819-1894)</name></persName> and <persName xml:id="persName_a5a1dba1-6572-472b-9146-89f69e9a3e6c">Charles<name key="PSN0112102" style="hidden" type="person">Horsley, Charles Edward (1822-1876)</name></persName> from Germany, and their <persName xml:id="persName_23ddb72a-069c-475b-a402-940ba6d3bc7d">sister’s<name key="PSN0112105" style="hidden" type="person">Horsley, Frances Arabella (Fanny) → Thompson (1815-1849)</name></persName> marriage,<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_85f409a6-e0a8-4775-ae26-f33fde54b226" xml:lang="en ">sister’s marriage – Fanny Horsley heriatete am 22. April 1841 den Arzt Seth Thompson (1807-1861).</note> and, therefore, you will not be surprised to learn, that this is the first moment which I have had to write to you. Let me now, without any preface, return You my most sincere and grateful thanks for the cordial reception which you gave to my <persName xml:id="persName_98724c18-6ffa-4317-a39e-23fb827bfaa0">son<name key="PSN0112102" style="hidden" type="person">Horsley, Charles Edward (1822-1876)</name></persName>, and the valuable assistance which you afforded to him.<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_0c7b0c83-0c4e-4273-9a7b-a55ca810645d" xml:lang="en ">the valuable assistance which you afforded to him – Charles Edward Horsley kam am 29. Dezember 1840 in Leipzig an; siehe Leipziger Tageblatt und Anzeiger Nr. 356, 20. Dezember 1840, S. 3008. In den Jahren 1841 bis 1843 war er Schüler von Felix Mendelssohn Bartholdy; siehe Charles Edward Horsley, Reminiscences of Mendelssohn by His English Pupil, in: Mendelssohn and His World, hrsg. von Larry Todd, Princeton 1992, S. 239.</note> I was most anxious that he should go to <placeName xml:id="placeName_1e55647f-fe01-4dba-bac9-621d0e48f0fa">Leipsig<settlement key="STM0100116" style="hidden" type="locality">Leipzig</settlement><country style="hidden">Deutschland</country></placeName>, and enjoy you Society there for some time; not only on account of the <gap quantity="1" reason="deletion" unit="words"></gap> <add place="above">excellent<name key="PSN0112109" resp="writers_hand" style="hidden">Horsley, William (1774-1858)</name></add> instruction which you might give to him, but, more especially, on account of the <hi n="1" rend="underline">Moral influence</hi>, which your example would not fail <gap quantity="2" reason="deletion" unit="words"></gap> <add place="above">on<name key="PSN0112109" resp="writers_hand" style="hidden">Horsley, William (1774-1858)</name></add> his future actions. I have had very <add place="above">few<name key="PSN0112109" resp="writers_hand" style="hidden">Horsley, William (1774-1858)</name></add> opportunities of hearing him, since his return – nor have I been able to give more than a glance at his compositions. But I have heard, and seen, enough to convince me that his visit to Germany has been of the greatest avail to him – that he has had advantages which few of his countrymen ever possess – and that, if he avail himself not of them, and rise <add place="above">not<name key="PSN0112109" resp="writers_hand" style="hidden">Horsley, William (1774-1858)</name></add> to eminence in his art, the fault will be his own.<seg type="pagebreak"> |2| <pb n="2" type="pagebreak"></pb></seg>Now let me speak of your excellent <persName xml:id="persName_789b5db2-0423-42d8-afb8-eba918dbfcb7">wife<name key="PSN0113252" style="hidden" type="person">Mendelssohn Bartholdy, Cécile Sophie Charlotte (1817-1853)</name></persName>, and let me beg, that you would give to her my warmest thanks for the great kindness which she showed towards my children. In reflecting on their visit to <placeName xml:id="placeName_19171816-bc2d-4654-ae4b-a8eecf7886c5">Leipsig<settlement key="STM0100116" style="hidden" type="locality">Leipzig</settlement><country style="hidden">Deutschland</country></placeName>, no small portion of my pleasure arises from this circumstance – that it has certainly drawn the bonds of our friendship closer than they were before. Ever since I have known you, it has been my earnest desire, that I, and my family, should deserve and enjoy your esteem; and I have never doubted that we did enjoy it. But now, so much seems to be added to our mutual regard – so many hints to our friendship which never existed before – that if we live to meet again, we shall meet almost like members of the same family. You will fell how much I allude, here, to the affection, which Sophy and Madame F Mendelssohn have conceived for each other: tell your cara sposa,<note resp="FMBC" style="hidden" type="translation" xml:id="note_935a4d90-16c2-4090-9d75-e9c0564fe084" xml:lang="it ">cara sposa – ital., liebe Braut. Vielleicht eine Anspielung auf das berühmte Lamento »Cara sposa« des Rinaldo, der seine Geliebte im Geiste sucht, in Georg Friedrich Händels Oper Rinaldo HWV 7.</note> that I always had a high regard for her, because she was your Choice, but that now I love her, because she is my children’s friend. <persName xml:id="persName_17cfbd23-f48a-4d77-8a1d-20ae25a48a76">Charles<name key="PSN0112102" style="hidden" type="person">Horsley, Charles Edward (1822-1876)</name></persName> and <persName xml:id="persName_2ab9c5af-933e-41a7-b194-2769176b3932">Sophy<name key="PSN0112108" style="hidden" type="person">Horsley, Sophia Hutchins (Sophy) (1819-1894)</name></persName> give a most interesting account of <persName xml:id="persName_e8ed999e-576f-477a-8912-0e4258974c9d">your little ones<name key="PSN0113242" style="hidden" type="person">Mendelssohn Bartholdy, Familie von → Felix Mendelssohn Bartholdy</name></persName>. I long to embrace them, and hope, that you will not come again to England, and have them in Germany. </p> <p>We must not, I suppose, entertain any hope of seeing you among us till the next <placeName xml:id="placeName_1e86f156-c4e3-4f32-8850-12620544e114">Birmingham Festival<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>: that, I trust, will bring you hither. But come when you will, you will find Music in a very<seg type="pagebreak"> |3| <pb n="3" type="pagebreak"></pb></seg>unsatisfactory state. There is quite as much more made about it – there is, perhaps, quite as much money spent on it – there is, however, no encouragement for fine arts, nor for him who would cultivate it. In the <placeName xml:id="placeName_d1b7be61-b6af-40ce-9fae-6d2400c9f9f6">Palace<name key="NST0105426" style="hidden" subtype="Konzerte" type="institution">Buckingham Palace</name><settlement key="STM0100126" style="hidden" type="locality">London</settlement><country style="hidden">Großbritannien</country></placeName> nothing pleases but Waltzes and Galops, and at the <placeName xml:id="placeName_09e0877d-5ba7-4bd0-ad18-877e2b0cdf5e">Opera<name key="NST0103766" style="hidden" subtype="" type="institution">Opera Concert Room</name><settlement key="STM0100126" style="hidden" type="locality">London</settlement><country style="hidden">Großbritannien</country></placeName> <persName xml:id="persName_5bc70843-e859-4a0f-affe-17cd415206af">Donizetti<name key="PSN0110705" style="hidden" type="person">Donizetti, Domenico Gaetano Maria (1797-1848)</name></persName>, <persName xml:id="persName_75ee16d4-9799-4977-9760-7b2f07e5f15c">Bellini<name key="PSN0109794" style="hidden" type="person">Bellini, Vincenzo Salvatore Carmelo Francesco (1801-1835)</name></persName>, and others of the “stip stop” school, have silenced, and chased away, all the great writers. But the <placeName xml:id="placeName_b22355b3-e82b-4f69-bb81-8e65be43bf05">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>? The Philharmonic, my friend, is hastening rapidly to decay. Last year we were obliged to part with a considerable portion of our capitals, in order to pay our expenses, and this year, unless I am much mistaken we must part with more. Nothing, in my opinion, will save this Society from dissolution, but refinding the Concerts; reverting to our original design, and trusting to our own resources for amusement and improvement. Will that step be tardily? – I think not. </p> <p>The affairs of the <placeName xml:id="placeName_a8c4362b-65f7-4639-a50e-e1f2c47de7c7">Society<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> are now altogether in the hands of the Orchestra, the members of which have contrived, by various means, to obtain a majority at all our general meetings; and they I fear will go on dividing our capital among them while there is a hundred pounds left. </p> <p>But the whole body of instrumental performers (there I mean who compose our Orchestras) is now in a<seg type="pagebreak"> |4| <pb n="4" type="pagebreak"></pb></seg><choice resp="Editor" source="autograph_edition_template" xml:id="choice_d4656ace-1dda-479a-8a3c-df23a9a50f5b"><sic resp="writer">lammentable</sic><corr resp="editor">lamentable</corr></choice> state; and, in some degree, they have brought mischief on themselves. About two years ago, certain of our principal men established a “<persName xml:id="persName_34333db6-bae7-46c8-8757-cba9f8a72242">Musard<name key="PSN0120520" style="hidden" type="person">Musard, Philippe (1792-1859)</name></persName>” Concert<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_a146de0c-c667-4759-b9b4-5a79630f3c8e" xml:lang="en ">“Musard” Concert – Philippe Musard war ein französischer Komponist, der maßgeblich zur Entwicklung und Popularität des Promenadenkonzerts beitrug. Als eine der berühmtesten Persönlichkeiten Europas in den 1830er- und 1840er-Jahren waren seine Konzerte in Paris und London riesige Erfolge. Bekannt ist Musard vor allem für seine Galopp- und Quadrille-Stücke, bei dener er in der Regel berühmte Themen anderer Komponisten entlehnte. Musard spielt eine wichtige Rolle in der Entwicklung der leichten klassischen Musik, der Fähigkeit zur Publizität in der Musik und in der Rolle des Dirigenten als musikalischem Star. Nach seiner Pensionierung Anfang der 1850er-Jahre geriet er weitgehend in Vergessenheit.</note> at the <placeName xml:id="placeName_85e03a26-307b-430a-b1cc-078497e870c1">English Opera house<name key="NST0105427" style="hidden" subtype="" type="institution">English Opera House</name><settlement key="STM0100126" style="hidden" type="locality">London</settlement><country style="hidden">Großbritannien</country></placeName>, to which the Public was admitted on <hi n="1" rend="underline">payment of one shilling</hi>. The thing took vainly – the house was crowded every night – the undertakers got about two pounds a week each, and, as they took no trouble to regard future consequences, nothing could exceed their delight. But their success was ruin to them, for it induced others to form similar establishments, which, after a time, died away, leaving the field open to Mr <persName xml:id="persName_f6993de8-67fc-4ebe-987e-73539313ad99">Eliason<name key="PSN0119204" style="hidden" type="person">Eliason, Eduard (1808-1886)</name></persName>. He, last year, gave “Summer Concerts” and “Winter Concerts” in <placeName xml:id="placeName_8cbd0384-562e-403e-ae52-d49b71f6f687">Drury Lane Theatre<name key="NST0100285" style="hidden" subtype="" type="institution">Drury Lane Theatre</name><settlement key="STM0100126" style="hidden" type="locality">London</settlement><country style="hidden">Großbritannien</country></placeName>, and, it is said, made a considerable sum of money by them. But mark the result. To render his performances more attractive, Eliason did not confine himself to Quadrilles and Waltzes – he gave <title xml:id="title_b75dd29a-77ec-42b2-8e4b-3fbf67ac8d5f">Mozart<name key="PSN0113466" style="hidden" type="author">Mozart, Wolfgang Amadeus (1756-1791)</name><name key="CRT0110131" style="hidden" type="music">Sinfonien</name></title> and <title xml:id="title_84e94858-179b-48c9-989c-e53d8a4b7f1a">Beethoven’s Symphonies<name key="PSN0109771" style="hidden" type="author">Beethoven, Ludwig van (1770-1827)</name><name key="CRT0108061" style="hidden" type="music">Sinfonien</name></title>, <title xml:id="title_17a98bb1-504a-4e43-848f-cbe5d74b0436">Weber<name key="PSN0115645" style="hidden" type="author">Weber, Carl Maria Friedrich Ernst von (1786-1826)</name><name key="CRT0112073" style="hidden" type="music">Ouvertüre</name></title> and <title xml:id="title_1c7e745c-fa65-4cd6-9fb4-c42469717f35">Spohr’s Over<hi rend="superscript">s</hi><name key="PSN0115032" style="hidden" type="author">Spohr, Louis (Ludewig) (1784-1859)</name><name key="CRT0113197" style="hidden" type="music">Ouvertüren</name></title><note resp="FMBC" style="hidden" type="word_description" xml:id="note_b6013121-e583-43a1-ae02-5438b122e06f" xml:lang="en ">Overs – Overtures.</note> &amp;c &amp;c, and John Bull,<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_c64a07d4-bb5f-41ed-a2b7-f381aea89f6f" xml:lang="en ">John Bull – John Bull ist sowohl eine nationale Personifikation des Königreichs Großbritannien als auch eine wohlmeinende Karikatur des stockkonservativen Einwohners Großbritanniens.</note> who has always an eye to his pocket, having heard them for a shilling will not be easily tempted to give a much higher price. It is, then, no wonder that the <placeName xml:id="placeName_7321af7b-7be0-48fd-86fc-004c90bdf312">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>-Subscription should be low, and that the greater<seg type="pagebreak"> |5| <pb n="5" type="pagebreak"></pb></seg><note resp="FMBC" style="hidden" type="text_constitution" xml:id="note_a0491ac1-cc3d-4e9b-86dc-221225c502f4" xml:lang="de ">Beginn des Briefteils in GB-Ob, M.D.M. d. 39/240.</note> part of those who have taken <hi n="1" rend="underline">benefit</hi> Concerts should find themselves losers. In the midst of such a state of things, I fear that our amiable friend <persName xml:id="persName_df914dfb-9e02-4f5b-8cb6-bfd072b6dc89">David<name key="PSN0110564" style="hidden" type="person">David, Ernst Victor Carl Ferdinand (1810-1873)</name></persName> finds himself sadly disappointed. We are delighted with his Society, and that of <persName xml:id="persName_0601809f-71bd-4e6e-ac39-8cb595f5a8fb">his wife<name key="PSN0110574" style="hidden" type="person">David, Sophie Wilhelmine (1807-1893)</name></persName>, but we are, nevertheless, grieved that his reception, this year, is not such as it was when he visited us before: – I say this in great confidence. Before I conclude, I must not omit to inform you, that the <persName xml:id="persName_d43a6ab3-0478-47d6-89f1-bec8feafd56e">Broadwoods<name key="PSN0110137" style="hidden" type="person">John Broadwood &amp; Sons, Klavierfabrik in London</name></persName> have most handsomely presented <persName xml:id="persName_c9f5b773-1f84-4a6c-aa54-77d1ace6231c">Charles<name key="PSN0112102" style="hidden" type="person">Horsley, Charles Edward (1822-1876)</name></persName> with a fine Grand Piano: this act of theirs is not only beneficial to him – it is also highly gratifying to me. He has now an additional motive to practice – for he and <persName xml:id="persName_6ebe5219-1739-459a-9623-8552dec83712">Sophy<name key="PSN0112108" style="hidden" type="person">Horsley, Sophia Hutchins (Sophy) (1819-1894)</name></persName> made loud complaints against my old instrument – and I hope he will labour to carry out the valuable hints he has received from you. We all think him very much improved in his playing, and, when I heard one of his <title xml:id="title_db2a72b3-e158-46fd-8426-0dca2d20a339">Capriccios<name key="PSN0110564" style="hidden" type="author">David, Ernst Victor Carl Ferdinand (1810-1873)</name><name key="CRT0113198" style="hidden" type="music">Capriccios</name></title> I immediately became sensible of the good company which he had been lately keeping.</p> <closer rend="left">All here desire to present their kindest regards to you and <persName xml:id="persName_20dfe0ba-4a28-43cb-b91d-32da43f65a94">Madame Felix<name key="PSN0113252" style="hidden" type="person">Mendelssohn Bartholdy, Cécile Sophie Charlotte (1817-1853)</name></persName> – <persName xml:id="persName_3ac3f0c2-9669-41b4-9132-5f967850e0e8">my wife<name key="PSN0112103" style="hidden" type="person">Horsley, Elizabeth Hutchins (1793-1875)</name></persName> will write when David returns – and with all good and friendly wishes, I remain my Dear friend, Yours most faithfully</closer> <signed rend="right">W<hi rend="superscript">m</hi> Horsley</signed> </div> <div n="2" type="act_of_writing" xml:id="div_e66d2a85-41aa-4442-bedb-47f47bfe7ab1"> <docAuthor key="PSN0112106" resp="author" style="hidden" xml:id="docAuthor_1fc0beb5-394d-49c5-9c39-4eded816ce68">Horsley, John Callcott (1817-1903)</docAuthor> <docAuthor key="PSN0112106" resp="writer" style="hidden" xml:id="docAuthor_4a6bf797-b32b-4042-af3a-97f576610975">Horsley, John Callcott (1817-1903)</docAuthor> <p style="paragraph_without_indent"><seg type="pagebreak">|6| <pb n="6" type="pagebreak"></pb></seg>My dear Mendelssohn. Wie geht’s Hofrath?<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_d7913d9e-9988-4699-b321-80ff1f88e3de" xml:lang="de ">Hofrath – Mendelssohn wurde in der Familie Horsley häufig mit dem Spitznamen »Hofrath« angeredet.</note> My best love to dearest <persName xml:id="persName_f1d385e0-8d88-4fc7-b295-a5133cae2c78">Cecile<name key="PSN0113252" style="hidden" type="person">Mendelssohn Bartholdy, Cécile Sophie Charlotte (1817-1853)</name></persName>. I have an inresistable inclination to open <persName xml:id="persName_9e658107-c789-4380-a2dc-0a537372f083">Sophy’s<name key="PSN0112108" style="hidden" type="person">Horsley, Sophia Hutchins (Sophy) (1819-1894)</name></persName> and the Childrens letter to write you one line &amp; <gap quantity="1" reason="deletion" unit="characters"></gap> asure you that I sorry to say that I have no chance seeing you in Germany this year.</p> <closer rend="left">I am still as ever Your most sincere friend</closer> <signed rend="right">John Calcott Horsley.</signed> </div> </body> </text></TEI>