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Maschinenlesbare Übertragung der vollständigen Korrespondenz Felix Mendelssohn Bartholdys (FMB-C)
1 Doppelbl.: S. 1-4 Brieftext; S. 4 Adresse. – 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.
Dr. F. Mendelssohn Bartholdy.
You have sent me
But had it not been for this same beautiful song of yours (for which let me thank you as for a cordial) I am not certain when I might have been able to write to you. There are one or two things I want to say to you so much, & have been so afraid of saying them: to tell you, for instance, why when I have written
impossibleto speak of Music in Germany (or rather to describe what I heard of it,) without putting
youin print: & I know how you dislike this. Heaven knows when I made your acquaintance I had as little idea of making my book, as I have of writing “Sketches of China” every time I look at a teapot! And though I am true I have not abused private hospitality & private friendliness, by giving any glimpses of the domestic life – society, I felt myself so privileged in enjoying – (at least so
Apart from my book, I never remember a London season, so busy for me. The amount of cares I have had on my narrow shoulders seems heavier than ever before. Among many of the interests which these cares have brought with them, has been a good deal of very close intimacy with mind of any one: – to see a thing so brilliant & so strong by nature – so little warmed by its own light! so little supported by its own strength! is, indeed painful: And after sitting listening to him for a couple of hours at a time, as he poured out all the painful & weary thoughts which were oppressing him, I have gone home, so worn out & depressed in my own spirits, as to fancy for another couple of hours, that there was to be no more sunshine or fresh air for any one! If one saw any clue of hope of health to come, – the thing would be less melancholy – I know nothing more intensely saddening, than
– I have had another great interest, too, in Miss début – she has returned inconceivably improved – with a degree of interest in her singing, which I have not found in any other native wayconsolation” I was writing, that one drawback to these excellent qualities,) that she has grown “ Schloss-wise” or rather, to speak moderably, not so thin as she used to be!! Nevertheless she is going early in the winter to appear at
sucha true
younone of the Shakespeare songs in your portfolio? – I have an idea, that it would be a charming thing for her to have a repertory of these for concert singing – Think of it, too! – I have only had time within the last three weeks to take the “
as regards to the plan as a whole– which the musician demands. – I will not give it up yet however.
The other London news, I dare say you get from better some than mine. How prima donna has hardly been allowed one opportunity of displaying herself on the stage – how, in spite of a degree of private execution used inroyalty – for nobody issue. because every one says she is amiable – & agreeable – & willing to wait as well as to work for her
2 Wilton Street Belgrave Square. Saturday. July 24/41. My dear Mendelssohn
You have sent me a letter (though without knowing it) which has for the last ten days been saying to me “Write to Berlin”! – In plain English, I have been so delighted by your “Frühlingslied” which I never heard before, that it has been in my ears, for a larger part of every day; reminding me of your permission that I should write to you occasionally, without waiting for answer to my last.
But had it not been for this same beautiful song of yours (for which let me thank you as for a cordial) I am not certain when I might have been able to write to you. There are one or two things I want to say to you so much, & have been so afraid of saying them: to tell you, for instance, why when I have written a book with two chapters in it about Leipsic music, I have not sent it to you. Some day or other you will know how nervous I am. It was impossible to speak of Music in Germany (or rather to describe what I heard of it, ) without putting you in print: & I know how you dislike this. Heaven knows when I made your acquaintance I had as little idea of making my book, as I have of writing “Sketches of China” every time I look at a teapot! And though I am true I have not abused private hospitality & private friendliness, by giving any glimpses of the domestic life – society, I felt myself so privileged in enjoying – (at least so my German friends here permit me to believe!) – I still have all along felt as if you would better know nothing about it, & rather see nothing of it, & from delicacy – if I may venture to say so – & not forgetfulness have refrained from putting you in the position of the receiver of something he is geneict to acknowledge. If I thought I was to lose any of my friends by what I have printed, it would grieve me bitterly – worse than the hundred errors of the printing, which arise from the haste with which it has been completed & sent through the press. Enough of a subject which we are to be glad to get rid of. –
Apart from my book, I never remember a London season, so busy for me. The amount of cares I have had on my narrow shoulders seems heavier than ever before. Among many of the interests which these cares have brought with them, has been a good deal of very close intimacy with Liszt: whom I saw very closely (as I think you told me, you saw him at Leipsic) in a state of low spirits, & therefore in that amiable & affectionate mood of random, which is very engaging. I do not think I was ever more sorry for the mind of any one: – to see a thing so brilliant & so strong by nature – so little warmed by its own light! so little supported by its own strength! is, indeed painful: And after sitting listening to him for a couple of hours at a time, as he poured out all the painful & weary thoughts which were oppressing him, I have gone home, so worn out & depressed in my own spirits, as to fancy for another couple of hours, that there was to be no more sunshine or fresh air for any one! If one saw any clue of hope of health to come, – the thing would be less melancholy – I know nothing more intensely saddening, than save (though in another way) the writings by Voltaire!
– I have had another great interest, too, in Miss Kemble’s début – she has returned inconceivably improved – with a degree of interest in her singing, which I have not found in any other native way of woman – a good deal of sound musical knowledge – & a good deal of showy italian vocal consola cultivation. (“consolation” I was writing, that one drawback to these excellent qualities, ) that she has grown “Schloss-wise” or rather, to speak moderably, not so thin as she used to be!! Nevertheless she is going early in the winter to appear at Covent Garden in “Der Freischutz” & “Oberon” & any such new Operas as may be done for her. I think you would have been warmed the other light, as much as we were, had you heard her singing Schubert’s “Hark, the lark”, with such a true Shakespearian spirit! – By the way, have you none of the Shakespeare songs in your portfolio? – I have an idea, that it would be a charming thing for her to have a repertory of these for concert singing – Think of it, too! – I have only had time within the last three weeks to take the “Evangelium Nicodemi” from the shelf, & look into it. & I must read it again very carefully, and be at all sure that I have understand it: since as it is, it seems to me to soar to a height, & descend to a depth of mystical meaning, which it would be hard to express, either by adaptions from scripture, or by original text, with the clear face & simplicity – as regards to the plan as a whole – which the musician demands. – I will not give it up yet however.
The other London news, I dare say you get from better some than mine. How Löwe who came here to be prima donna has hardly been allowed one opportunity of displaying herself on the stage – how, in spite of a degree of private execution used in behalf I remember in an other case the public will not accept of her, & the like!! – I am very sorry for the mortifications she must have undergone in her exchange of royalty – for nobody issue. because every one says she is amiable – & agreeable – & willing to wait as well as to work for her here: but I am afraid she has begun to do both too late!
Pray remember me gratefully to all your united families in Berlin – & may the success & the position await your exertions there, you have well deserved. I am more ambitious for you than you are for yourself: & much as I love Leipsic, I would gladly see you doing for a great capital’s Art that which you have done for that hospitably little town. God bless you – and believe me to be Affectionately & gratefully yrs
H. F. Chorley
the room) Charles Horsley playing over a Sonata for P. F. & violoncello – which he has just finished, – this is the very newest of news!
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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="1841-07-24" xml:id="date_f7c2a816-2475-4238-baef-10dc4dc0abb8">24. Juli 1841</date> </creation> <correspDesc> <correspAction type="sent"> <persName key="PSN0110376" resp="author">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_d297c998-709c-4546-9c7e-f6ae9b479ca4"> <settlement key="STM0100126">London</settlement> <country>Großbritannien</country> </placeName> </correspAction> <correspAction type="received"> <persName key="PSN0000001" resp="receiver" xml:id="persName_45930518-4e66-4578-85aa-fe886148c04c">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</persName> <placeName type="receiving_place" xml:id="placeName_fd07f75b-9ef8-4696-8176-9aa1773c858e"> <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_18583fce-a85c-4607-8dc1-c47998ced266"> <head> <address> <addrLine><hi rend="latintype">Dr. F. Mendelssohn Bartholdy</hi>.</addrLine> </address> </head> </div> <div n="1" type="act_of_writing" xml:id="div_1cb9fd4c-6483-414e-8d5b-cf2eb8f5c05b"> <docAuthor key="PSN0110376" resp="author" style="hidden" xml:id="docAuthor_384804b0-87a6-4b44-9205-f0450cd24354">Chorley, Henry Fothergill (1808-1872)</docAuthor> <docAuthor key="PSN0110376" resp="writer" style="hidden" xml:id="docAuthor_7e798176-8fd6-41bb-a77d-6c7ef960b406">Chorley, Henry Fothergill (1808-1872)</docAuthor> <dateline rend="right">2 Wilton Street Belgrave Square. Saturday. <date cert="high" when="1841-07-24" xml:id="date_0f0ae7c1-73db-4982-9ffe-358c9ebc17da">July 24/41</date>.</dateline> <salute rend="left">My dear Mendelssohn</salute> <p style="paragraph_without_indent">You have sent me <title xml:id="title_e3165d2b-bd37-45f5-bfd6-9755cf6cf01a">a letter<name key="PSN0000001" style="hidden" type="author">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</name><name key="fmb-1841-07-14-02" style="hidden" type="letter">Felix Mendelssohn Bartholdy an Henry Fothergill Chorley in London; Leipzig, 14. Juli 1841</name></title> (though without knowing it) which has for the last ten days been saying to me “Write to Berlin”! – In plain English, I have been so delighted by your “<title xml:id="title_bfe038e6-e2c9-4b33-a23d-6ef956d83b95">Frühlingslied<list style="hidden" type="fmb_works_directory" xml:id="list_de1b6e24-6ac6-49c6-a747-fcfb584a2f57"><item n="1" sortKey="musical_works" style="hidden"></item><item n="2" sortKey="vocal_music" style="hidden"></item><item n="3" sortKey="secular_vocal_music" style="hidden"></item><item n="4" sortKey="works_for_one_voice_and_piano" style="hidden"></item></list><name key="PSN0000001" style="hidden" type="author">Mendelssohn Bartholdy (bis 1816: Mendelssohn), Jacob Ludwig Felix (1809-1847)</name><name key="PRC0100297" style="hidden">Frühlingslied »Durch den Wald, den dunkeln«, 17. April 1839<idno type="MWV">K 101</idno><idno type="op">47/3</idno></name></title>”<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_17fc791b-f570-491e-a561-289d97ccd4f7" xml:lang="en ">Frühlingslied – Chorley meinte Mendelssohns Frühlingslied »Durch den Wald, den dunkeln« op. 47/3 (MWV K 101) in B-Dur, das Mendelssohn Carl Klingemanns Brief vom 2. Juni 1837 (Brief gb-1837-06-02-03) zufolge vor diesem Datum nach London gesandt hatte.</note> which I never heard before, that it has been in my ears, for a larger part of every day; reminding me of your permission that I should write to you occasionally, without waiting for answer to my last.</p> <p>But had it not been for this same beautiful song of yours (for which let me thank you as for a cordial) I am not certain when I might have been able to write to you. There are one or two things I want to say to you so much, & have been so afraid of saying them: to tell you, for instance, why when I have written <title xml:id="title_32749a4d-feae-46d5-a927-eda2a97abc87">a book with two chapters in it about Leipsic music<name key="PSN0110376" style="hidden" type="author">Chorley, Henry Fothergill (1808-1872)</name><name key="CRT0108429" style="hidden" type="literature">Music and Manners in France and Germany</name></title>, I have not sent it to you. Some day or other you will know how nervous I am. It was <hi n="1" rend="underline">impossible</hi> to speak of Music in Germany (or rather to describe what I heard of it,) without putting <hi n="1" rend="underline">you</hi> in print: & I know how you dislike this. Heaven knows when I made your acquaintance I had as little idea of making my book, as I have of writing “Sketches of China” every time I look at a teapot! And though I am true I have not abused private hospitality & private friendliness, by giving any glimpses of the domestic life – society, I felt myself so privileged in enjoying – (at least so <persName xml:id="persName_da197329-068a-44bf-83af-e96edfcba1b6">my German friends here<name key="PSN0113441" style="hidden" type="person">Moscheles, Ignaz (Isack) (1794-1870)</name><name key="PSN0112434" style="hidden" type="person">Klingemann, Ernst Georg Carl Christoph Konrad (1798-1862)</name><name key="PSN0109825" style="hidden" type="person">Benecke, Friedrich Wilhelm (1802-1865)</name></persName> permit me to believe!) – I still have <add place="above">all<name key="PSN0110376" resp="writers_hand" style="hidden">Chorley, Henry Fothergill (1808-1872)</name></add> along felt as if you would better know nothing about it, & rather see nothing of it, & from delicacy – if I may venture to say so – & not forgetfulness <add place="above">have<name key="PSN0110376" resp="writers_hand" style="hidden">Chorley, Henry Fothergill (1808-1872)</name></add><seg type="pagebreak"> |2| <pb n="2" type="pagebreak"></pb></seg>refrained from putting you in the position of the receiver of something he is geneict<note resp="FMBC" style="hidden" type="word_description" xml:id="note_6e8a575d-12d0-40ef-981d-9a360491faf7" xml:lang="de ">geneict – dt., geneigt.</note> to acknowledge. If I thought I was to lose any of my friends by what I have <gap quantity="1" reason="deletion" unit="words"></gap> <add place="above">printed<name key="PSN0110376" resp="writers_hand" style="hidden">Chorley, Henry Fothergill (1808-1872)</name></add>, it would grieve me bitterly – worse than the hundred errors of the printing, which arise from the haste with which it has been completed & sent through the press. Enough of a subject which we are to be glad to get rid of. – </p> <p>Apart from my book, I never remember a London season, so busy for me. The amount of cares I have had on my narrow shoulders seems heavier than ever before. Among many of the interests which these cares have brought with them, has been a good deal of very close intimacy with <persName xml:id="persName_677777cb-8c1f-4a25-bc90-a467fc901745">Liszt<name key="PSN0112894" style="hidden" type="person">Liszt, Franz (Ferenc) (1811-1886)</name></persName>: whom I saw very closely (as I think <add place="above">you<name key="PSN0110376" resp="writers_hand" style="hidden">Chorley, Henry Fothergill (1808-1872)</name></add> told me, you saw him at <placeName xml:id="placeName_094de0c1-52c5-47a4-98b9-924bc3dce91d">Leipsic<settlement key="STM0100116" style="hidden" type="locality">Leipzig</settlement><country style="hidden">Deutschland</country></placeName>) in a state of low spirits, & therefore in that amiable & affectionate mood of random, which is very engaging. I do not think I was ever more sorry for the <hi n="1" rend="underline">mind</hi> of any one: – to see a thing so brilliant & so strong by nature – so little warmed by its own light! so little supported by its own strength! is, indeed painful: And after sitting listening to him for a couple of hours at a time, as he poured out all the painful & weary thoughts which were oppressing him, I have gone home, so worn out & depressed in my own spirits, as to fancy for another couple of hours, that there was to be no more sunshine or fresh air for <hi n="1" rend="underline">any one</hi>! If one saw any clue of hope of health to come, – the thing would be less melancholy – I know nothing more intensely saddening, than <add place="above">save<name key="PSN0110376" resp="writers_hand" style="hidden">Chorley, Henry Fothergill (1808-1872)</name></add> (though in another way) the writings by <persName xml:id="persName_a5460fbf-ba94-44ad-86b3-a1a5ddf58733">Voltaire<name key="PSN0115559" style="hidden" type="person">Voltaire (eigtl. François Marie Arouet) (1694-1778)</name></persName>!</p> <p>– I have had another great interest, too, in Miss <persName xml:id="persName_7e74ebcf-7593-45d8-8d61-71dd3333bd5d">Kemble’s<name key="PSN0112349" style="hidden" type="person">Kemble, Adelaide (?-1879)</name></persName> <hi n="1" rend="underline">début</hi><note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_fddb3c4d-9e2a-4f47-88f2-66ebfa3a8bdb" xml:lang="en ">Miss Kemble’s début – Die Sängerin Adelaide Kemble verbrachte die Zeit von Herbst 1838 bis April 1841 zum größten Teil in Italien und hielt sich dann vorübergehend in England auf, bevor sie nach mehreren Auftritten in Deutschland im Sommer und Herbst 1841 endgültig dorthin zurückkehrte.</note> – she has returned inconceivably improved – with a degree of interest in her singing, which I have not found in any other native way<seg type="pagebreak"> |3| <pb n="3" type="pagebreak"></pb></seg>of woman – a good deal of sound musical knowledge – & a good deal of showy italian vocal <unclear reason="deletion" resp="FMBC">consola</unclear> cultivation. (“<hi n="1" rend="underline">consolation</hi>” I was writing, that one drawback to these excellent qualities,) that she has grown “<hi n="1" rend="underline"><persName xml:id="persName_3124c53f-3449-45d3-a35c-c6cf31f9a5cd">Schloss<name key="PSN0114593" style="hidden" type="person">Schloss, Sophie (1821-1903)</name></persName>-wise</hi>” or rather, to speak moderably, not so thin as she used to be!! Nevertheless she is going early in the winter to appear at <placeName xml:id="placeName_0cf5ef71-f34b-46d8-a2bc-602ea5856d9d">Covent Garden<name key="NST0100286" style="hidden" subtype="" type="institution">Royal Opera House Covent Garden</name><settlement key="STM0100126" style="hidden" type="locality">London</settlement><country style="hidden">Großbritannien</country></placeName> in “Der Freischutz” & “Oberon”<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_399b66c3-5fd8-4bf2-8da0-783e59b1f9e0" xml:lang="en ">she is going early in the winter to appear at Covent Garden in “Der Freischutz” & “Oberon” – Adelaide Kemble debütierte am 2. November 1841 am Royal Opera House Covent Garden. </note> & any such new Operas as may be done for her. I think you would have been warmed the other light, as much as we were, had you heard her singing <title xml:id="title_59415f0c-ee6b-4fbb-bdbb-b2af81e6ca71">Schubert’s “Hark, the lark”<name key="PSN0114718" style="hidden" type="author">Schubert, Franz Peter (1797-1828)</name><name key="CRT0113217" style="hidden" type="music">Sehnsucht, D. 516 - Der Lerche wolkennahe Lieder</name></title>, with <hi n="1" rend="underline">such</hi> a true <persName xml:id="persName_2011e8f2-bd9e-4b37-aa81-5e51fe0ed46a">Shakespearian<name key="PSN0114889" style="hidden" type="person">Shakespeare, William (1564-1616)</name></persName> spirit! – By the way, have <hi n="1" rend="underline">you</hi> none of the Shakespeare songs in your portfolio? – I have an idea, that it would be a charming thing for her to have a repertory of these for concert singing – Think of it, too! – I have only had time within the last three weeks to take the “<title xml:id="title_00870cd4-2302-4e5c-bf81-8974082eb67e">Evangelium Nicodemi<name key="PSN0118477" style="hidden" type="author">Unbekannt</name><name key="CRT0112141" style="hidden" type="literature">Evangelium Nicodemi</name></title>”<note resp="FMBC" style="hidden" type="single_place_comment" xml:id="note_0d941596-8c9c-4101-b44d-d66e44056101" xml:lang="en ">the “Evangelium Nicodemi” – Mendelssohn hatte Chorley mit seinem Brief vom 24. Januar 1841 (Brief fmb-1841-01-24-02) eine Ausgabe der Acta Pilati zugesandt, die auch als Nikodemusevangelium bezeichnet werden. 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> from the shelf, & look into it. & I must read it again very carefully, <gap quantity="1" reason="uncertain_reading" unit="words"></gap> and be at all sure that I have understand it: since <gap quantity="1" reason="uncertain_reading" unit="words"></gap> as it is, it seems to me to soar to a height, & descend to a depth of mystical meaning, which it would be hard to express, either by adaptions from scripture, or by original text, with the clear face & simplicity – <hi n="1" rend="underline">as regards to the plan as a whole</hi> – which the musician demands. – I will not give it up yet however. </p> <p>The other London news, I dare say you get from better some than mine. How <persName xml:id="persName_f917aac0-5d28-4a16-b0d5-b3c5ed972baa">Löwe<name key="PSN0120431" style="hidden" type="person">Loewe, Auguste Emilie Laura (1806-1895)</name></persName> who came here to be <hi n="1" rend="underline">prima donna</hi> has hardly been allowed one opportunity of displaying herself on the stage – how, in spite of a degree of private execution used in<seg type="pagebreak"> |4| <pb n="4" type="pagebreak"></pb></seg>behalf <add place="above">I remember in an other case<name key="PSN0110376" resp="writers_hand" style="hidden">Chorley, Henry Fothergill (1808-1872)</name></add> the public will not accept of her, & the like!! – I am very sorry for the mortifications she must have undergone in her exchange of <hi n="1" rend="underline">royalty</hi> – for <hi n="1" rend="underline">nobody issue</hi>. because every one says she is amiable – & agreeable – & willing to wait as well as to work for her <gap quantity="1" reason="uncertain_reading" unit="words"></gap> here: but I am afraid she has begun to do both too late!</p> <closer rend="left">Pray remember me gratefully to all your <persName xml:id="persName_5282a13c-1d92-4d76-abc1-0f4190676377">united families in Berlin<name key="PSN0113241" style="hidden" type="person">Mendelssohn Bartholdy, Familie von → Abraham Mendelssohn Bartholdy</name><name key="PSN0113243" style="hidden" type="person">Mendelssohn Bartholdy, Familie von → Paul Mendelssohn Bartholdy</name><name key="PSN0110664" style="hidden" type="person">Dirichlet (Lejeune Dirichlet), Familie von → Johann Peter Gustav Lejeune D.</name><name key="PSN0111890" style="hidden" type="person">Hensel, Familie von → Wilhelm H.</name></persName> – & may the success & the position await your exertions there, you have well deserved. I am more ambitious for you than you are for yourself: & much as I love <placeName xml:id="placeName_18451613-a927-4f3b-8cb3-de9a1e264d48">Leipsic<settlement key="STM0100116" style="hidden" type="locality">Leipzig</settlement><country style="hidden">Deutschland</country></placeName>, I would gladly see you doing for a great capital’s Art that which you have done for that hospitably little town. God bless you – and believe me to be </closer> <signed rend="right">Affectionately & gratefully yrs</signed> <signed rend="right">H. F. Chorley</signed> </div> <div n="2" type="act_of_writing" xml:id="div_bf6dbddd-42f9-4087-bf68-437be8eb8caf"> <docAuthor key="PSN0110376" resp="author" style="hidden" xml:id="docAuthor_a9ac8817-26a5-4e1f-9d8d-c5b123b7e625">Chorley, Henry Fothergill (1808-1872)</docAuthor> <docAuthor key="PSN0110376" resp="writer" style="hidden" xml:id="docAuthor_769bacdd-7886-4034-adc1-a14ea5a6f14d">Chorley, Henry Fothergill (1808-1872)</docAuthor> <p style="paragraph_without_indent"> <seg type="pagebreak"> |1| <pb n="1" type="pagebreak"></pb></seg> <add place="top"><gap quantity="2" reason="covering" unit="words"></gap> the room) <persName xml:id="persName_21dd4de3-4d27-4e57-9706-b367a0e570fd">Charles Horsley<name key="PSN0112102" style="hidden" type="person">Horsley, Charles Edward (1822-1876)</name></persName> playing over a <title xml:id="title_16c6296e-2e75-408a-811f-f956bd8b6530">Sonata for P.F. & violoncello<name key="PSN0112102" style="hidden" type="author">Horsley, Charles Edward (1822-1876)</name><name key="CRT0109363" style="hidden" type="music">Sonate für Klavier und Violoncello A-Dur, op. 3</name></title> – which he has just finished, – this is the very newest of news!<name key="PSN0110376" resp="writers_hand" style="hidden">Chorley, Henry Fothergill (1808-1872)</name></add> </p> </div> </body> </text></TEI>