Felix Mendelssohn Bartholdy

In der Philharm. Bibliothek nämlich ist sie nicht vorhanden […] Wann wird Ihre Ouvertüre aus Eh gespielt?“ „Philharmonie“: die von Eduard Rietz 1826 gegründete Philharmonische Gesellschaft, ein Liebhaber-Orchester zur Begleitung der Singakademie. - „Ouvertüre aus Eh“: Ouvertüre für großes Orchester in E-dur, die Rietz am 18.X.1832 in Berlin vollendete. - Im Winter 1832/33 veranstaltete Mendelssohn drei Konzerte in Berlin. - Die Notenzeile (F-G-F-E-F-C-F-As-F) ist noch nicht entschlüsselt..

Es kam bald zu einer vertrauten Beziehung und bei seinen Kölner Aufenthalten war Mendelssohn auch später noch regelmäßig Hausgast der Familie. „[…] Sie haben es wohl schon erfahren, welchen Unglück mich und die Meinigen getroffen hat […] Sie haben ihn nur wenige Tage gesehen, aber Sie werden es wohl wissen wie das der härteste Schlag war der uns hätte treffen können, und wie schwer es mir wird diesen Schmerz mit Fassung und Ergebenheit, wie ich soll, zu ertragen […] Da ich vor allen Dingen mich fortwährend zu beschäftigen und mit Erfüllung meiner Pflichten nicht inne zu halten suche, so war es mir lieb Ihren Auftrag, eine Orgelstimme zu Händels Te Deum bald ausführen zu können. Sie erfolgt hiebei, u. es würde mich freuen zu hören, daß Sie es damit im Dom haben aufführen lassen. Da ich die Stimmen ohne Weiteres so hingeschrieben habe so wird sich wohl mancher Fehler der berichtigt werden muß noch darin finden […] Es wird wohl nicht leicht sein, die ganz passenden Register zu finden, die den Dom füllen und doch die Stimmen nicht zu sehr bedecken. Ich bin von der Voraussetzung ausgegangen, daß gleich Anfangs in der gedruckten Partitur ein bedeutender Druckfehler steht (wie überhaupt viele) daß nämlich in der Bezeichnung der Instrumente am Anfang statt Hautbois I Violino I, und statt Hautb II Violino II stehen muß, und statt Viol. I & II. e Tomba: Hauptb. I & II e Tomba. Die Art wie die Instrumente gebraucht sind macht mich dessen ganz gewiß […] Wie werden Sie das Stück mit der obligaten Trompete geben? Ein heutiger Trompeter bläst es nie sicher, u. ein andres Instrum. thut es nicht recht; ich habe die Orgel dafür ganz ausgelassen, weil sie mir nicht nöthig schien […] Der Stabat mater von Astorgas lege ich ebenfalls dazu. Ich erfuhr daß es der hiesige Magister Fink, der Redacteur der musikal. Zeitung, besäße […] Bei der Gelegenheit kam ich mit Hrn. Finck auf das Rheinische Musikwesen zu sprechen, u. war erstaunt zu hören, daß er steif u. fest behauptete Ries“ [der Pianist und Komponist Ferdinand R. leitete zwischen 1825 und 1837 mehrfach die Niederrheinischen Musikfeste] „sey in Aachen Musikdirektor seit einem Jahre […] Aber noch viel mehr erstaunte ich, als ich einige Wochen drauf manches von dem, was ich ihm damals erzählte, fast wörtlich in der musikal. Zeitung abgedrukt fand, u. zwar so wörtlich, daß ich geschworen hätte, ich wäre ein Mitarbeiter, wenn ich das Gegentheil nicht gar zu gewiß wüßte […] Mein Oratorium ist der Beendigung nahe und der erste Theil davon soll gegen Ende dieses Monats zu Simrock nach Bonn gehn, wo es erscheinen soll. Wahrscheinlich werde ich im Laufe des Frühjahrs oder Sommers nach dem Rhein, u. auch natürlich nach Cöln kommen, ich fahre dann wieder, wie sonst, an Ihrem Hause vor, frage ob Sie mich aufnehmen könen u. wollen, und wir gehen gedenken fröhlicher vergangner Zeiten […]“ Das Paulus-Oratorium, an dem Mendelssohn von Anfang 1834 bis April 1836 arbeitete, wurde während der oben erwähnten Reise am 22. Mai in Düsseldorf uraufgeführt. - Erwähnt seinen Freund Karl Klingemann..

Mögen Sie sehr, sehr viele Werke, eben so schön gefühlt, ebenso fein ausgeführt, ebenso eigenthümlich und so reich an Wohlklang diesem folgen lassen; Sie werden allen wahren Kunstfreunden den größten Genuß bereiten, der ,Markt’ wird sich von denen endlich auch ins Schlepptau nehmen lassen müssen, wie er das erste schon so oft, eigentlich immer gethan hat und thun wird. Keiner von allen wird aber über dies Werk, wie über jedes Ihrer künftigen mehr Freude haben und Ihnen dankbarer sein als Ihr hochachtungsvoller ergebener | Felix Mendelssohn Bartholdy“. Im Vorjahr war das erste Liederheft von Franz erschienen, das auch von Schumann und Liszt sehr gewürdigt wurde..

erlaube ich mir darauf noch einmal zurückzukommen. Durch die Symphonie von Mozart aus D Dur ohne Menuett, welche kaum 1/2 Stunde dauert, oder eine von Haydn, die sämtlich nicht länger sind, würde dem Fest ein […] Schmuck verliehen, u. es thäte mir leid, dies aufgeben zu müßen. Der Josua wird nicht länger als 2 starke Stunden dauern; und da er keine Ouvertüre hat, schiene es mir auch deswegen beßer, den ersten wie den 2t. Tag mit einer Symph. anzufangen, u. dazu eine von Ries od. eine der obigen zu wählen, in welcher Ordnung Sie nur vorginge. Ich würde Ries’ Symph. am 1t. Tage zu Eröffnung des Festes lieber sehn; einmal weil der Platz der Feierlichste ist, und weil am 2t. Tage durch den Wechsel des Styls nicht so auffallend wäre. Diese letztere Rücksicht scheint mir wichtig , u. ich bitte deshalb die Sache noch einmal in Bewerthung zu ziehen, u. mir das Ergebnis mitzutheilen. […]“ Weiter ausführlich über den Einbau der Orgel, die für Händels Oratorium unverzichtbar sei, die Vorbereitung der Orchesterstimmen, die Klavierauszüge für die Proben, die Auswahl der Sänger usw..

Wochen drauf, weil bey erstern der Platz zu enge, bey Herr Gleditzschen dem Buchführer aufgeführet und gehalten.“ Das Programm von 1843 erinnert an die Historie. Gespielt werden „Doles (1743 Musikdirector beim Leipziger Abonnement-Concert), [...] Joh. Sebastian Bach (1743 Cantor an der Thomasschule) [...] Johann Adam Hiller (1781-1785 Musikdirector beim Abonn.-Concert, 1789-1800 Cantor an der Thomasschule(, [...] J. G. Schicht (1785-1810 Musikdirector beim Abonnement-Concert, 1810-1825 Cantor an der Thomasschule) [...] Mathai (gewesenem Concertmeister beim Abonn.-Concert) [...] Ferdinand David (jetzigem Concertmeister beim Abonnement-Concert), [...] Mortiz Hauptmann (jetzigem Cantor an der Thomasschule), [...] Felix Mendelssohn-Bartholdy (jetzigem Musikdirector beim Abonnement-Concert) [...]“ Der zweite Teil ist gewidmet „Grosse Symphonie mit Chören über Schillers Lied an die Freude, von L. van Beethoven.“ Zuzüglich Gesangstext und der witzigen Anmerkung „Die Aufführung der Chöre hat eine bedeutende Anzahl hiesiger Dilettanten, in Verbindung mit dem Thomaner Chore gütigst übernommen.“ Seit 1743 wurden die Konzerte des späteren Gewandthausorchesters von einer aus Adligen und Bürgern bestehenden Gesellschaft getragen. Die von ihr veranstalteten „Großen Musicalischen Concerte“ fanden zuerst in Bürgerhäusern statt. Aufgrund des großen Zuspruchs wurde bald schon ein Saal im Gasthaus „Zu den drei Schwanen“ gemietet. Hier trafen sich über 30 Jahre lang diejenigen Leipziger Bürger, die den hohen Jahresbeitrag zahlen konnten. Von dem Geld wurden die Musiker honoriert. Am Anfang waren es 16, die das Konzertorchester bildeten. Ihm gehörten zur einen Hälfte Berufsmusiker, unter ihnen die Stadtmusiker, und zur anderen Hälfte Studenten der Leipziger Universität an. Im Gewandhaus, der Gewerbehalle der Tuchmacher, gab es zu dieser Zeit einen großen, ungenutzten Dachboden. Auf Initiative eines Bürgermeisters wurde er als Konzertsaal ausgebaut. Im November 1781 fand das erste „Gewandhauskonzert“ statt. Der Komponist, Pianist und Organist Felix Mendelssohn Bartholdy kam im August 1835 nach Leipzig und gab am 4. Oktober – offiziell als Kapellmeister, aber erstmals schon im Stil eines modernen Dirigenten – das erste Konzert im Gewandhaus mit seiner Ouvertüre Meeresstille und glückliche Fahrt, die verglichen mit seinen anderen Ouvertüren heute weniger oft aufgeführt wird. Mendelssohns Gewandhauskonzerte wurden begeistert aufgenommen. Seine Anerkennung drückte sich auch in einer Ehrendoktorwürde in Philosophie aus, die ihm am 20. März 1836 verliehen wurde. In dieser Zeit bemühte er sich – als großer Verehrer von Joseph Haydn – um die Propagierung von Haydn-Werken, die er beispielsweise mit großem Erfolg am 22. Februar 1838 in Leipzig aufführte. Mendelssohn Bartholdy blieb bis zu seinem Tod Kapellmeister des Gewandthaus..

The many excellent works that you have continually published, and the high rank that your publishing activity occupies in the musical world had long since made me want to do something of mine with you and see you publish it, and I would certainly have uttered it if I would have thought that you would [...] welcome this. I am all the more pleased to now receive your letter and I accept your [...] business offer that is so honorable to me(?) with great pleasure. Since I understand you might prefer pianoforte-compositions I would have liked to give you something of the same kind [...] but I have nothing ready to hand over at this moment. I hope, however, [...] that several works that are occupying me at the moment will be finished in a while, and [...] among them also pianoforte-stuff, some of which I started. As soon as they are ready, I will take the liberty of writing to you, and I will ask you then for your friendly and honorable sentiments. / Your news of the good success of my Calm Sea made me very happy, and I wish I had been at the concert, since I mailed the score right after I finished it, so I haven't even heard the piece yet." Mendelssohn's Calm Sea and Prosperous Voyage (Op. 27), originally performed in 1828 and published in 1834 by the firm of Breitkopf & Hartel, was inspired both by the two Goethe poems mentioned in the title and by Beethoven's own similarly titled 1814-15 work for chorus and orchestra which had fallen into neglect by the time of Mendelssohn's writing..

My illness surprised me a few days before my departure, I had already taken my leave and had started to pack; now I'll have to postpone that at least a fortnight longer, but then I think I can leave; my plan is to go from here via Weimar to Munich, then through the Tyrol to Vienna; from Vienna I intend to go to Venice and Upper Italy in the middle or toward the end of summer, and then I think I'll spend next winter in Rome and Naples, then in the spring, if it is permitted to spend so much time on a plan, go to Paris and then to London from time to time, where there may be much smoke and fog and great crowds and poverty, but where pretty nice people live, too, and where I wasn't so bad off for a year. But will I find the same people there then? On this, as on your whole Let (that is Sanscrit for the future) I ask you to let [me] know a lot, also about everything which is dear and precious to me in London, and about our friends at some length. For you have a sharp eye, professor, and when you are sitting on the blue sofa, or silently making tea, or modestly gliding to and fro in the halls of the university with a light red [folder] and a long black robe, you will still make your accurate remarks and comments, and I expect more from you than from many a Berlin lady. What I have to tell you about Berlin, at last, is little and not pleasant, the people are cold, malicious, and make it a point of honor never to be content; even when [Henriette] Sonntag performed recently she was received quite coldly and was palpably slighted in favor of the others in the cast; her sister, who performed the next evening, was almost completely hissed from the stage, for which the other faction took revenge, and in their first scene (in Othello), all the participants were hissed at and Mme. Sonntag had a curtain call, and at that they speak, think, and do nothing differently than Mme. Sonntag and the factions for and against her. But is such formation of factions something a reasonable and interested public should do and doesn't it spoil any enjoyment of the work of art and all joy of the artist? But that's how they are in big and little things, and the Flower Market that opened yesterday in the University Gardens, for which a single gardener has obtained a monopoly, is just as good a proof of it as the dearth of operas other than by Spontini and Auber for which the Royal Theater has in turn obtained a monopoly, and like the monotony of the parties and conversations here; God will improve this when He has nothing to do but that, but I'm afraid He'll get other things and so much to reform that the Berliners' turn won't come for a long time, so for now they are good enough. Let me know what the Johnstons are doing, whether Ritter is still the same as back then, and whether Mühlenfels has been successfully introduced to society and speaks French with Federita. Let me know, too, about the stone monkeys, the wooden chairs from King Edmund the Cannibal's time, and the scraped-off portraits. My chests from England arrived a few days ago and filled me with longing again. Have you been back to Atwood's again since then, and did you entertain the fellow with some Ikojan Atchi? You see how I have learned from you. In short, write me about each and every thing, but especially, write me [...]" (transl.). - Friedrich Rosen became Professor of Sanscrit at the University of London (later University College) in 1827, at the age of twenty-two. Carl Klingemann was Mendelssohn's close friend and collaborator who wrote the words for many of the composer's songs. Karl Wilhelm Ludwig Heyse had been Mendelssohn's tutor until 1827. The Festival is possibly the Grosse Festmusik zum Dareifest (Grand Festive Music for the Durer Celebration) of 1828. The Symphony may be the Fingal's Cave Overture written in 1830. One of the Liechtenstein songs is doubtless Frühlingslied (Song of Spring), op. 19, no. 1..

But I wouldn't know what cantata by Bach to suggest for the second day as now programmed; I don't know any which would fit in as regards the time it needs and even more as regards style; if another piece needs to be selected, I would perhaps suggest the chorus by Haydn 'Des Staubes eitle Sorgen' but it seems enough to me, anyway. In 1833 with you and 1834 in Aachen, the program of the 2nd day was shorter than this; last year in Cologne it was at least no longer, and so I think: 1) Eroica Symph[ony], march and chorus by Beeth[oven], new hymn by Spohr. 2) Overture and Psalm -would be quite a sufficient program. To be sure, if Herr Rietz doesn't keep his promise, quite a substantial overture would have to be selected, to make the second part as interesting as possible. But this time the main thing for me would be if you could manage to have Alceste performed in the theater. You write of the difficulties with the chorus; they are indeed the biggest ones that can place themselves in its way, to my knowledge, but even if they couldn't be removed, I would prefer seeing Alceste performed with a very bad chorus a hundred times more than giving up the idea completely. First, in Alceste the main thing is Alceste herself, then Admet, then Hercules, and then only the chorus, and with a performance to be expected from Frl. von Fassmann and Tichatschek or Eichberger or some other outstanding Admet, the chorus recedes in any case into the background. Then there is the second question if it is impossible to improve the chorus? Couldn't 12-20 of the best chorus singers be brought in from Cologne and Aachen? I would with pleasure come a week earlier myself for this and hold separate rehearsals for the chorus every day to make this performance possible. Finally, several passages could and in such a case would have to be deleted, such as the ball in the second act and similar passages in which the chorus plays too much of a main part, and as I said, that would be that much more feasible as Alceste herself and her and Admet's suffering are definitely the main thing in the opera. As several of your members know, I already felt the urgent wish for something new in the course and sequence of the music festival last year, and I said so. My suggestions on this were perhaps not practical, but now, through this coincidence, the opportunity arises this time in Dusseldorf, at least, of giving the festival a new attraction of the kind I had in mind. If this music festival performs the Messiah on the first day, then the Beethoven symphony with a miscellaneous program, and finally a Gluck opera (and even if it is most inferior in execution and even if it has the worst chorus, but beautifully sung in the main roles and beautifully played by the orchestra), this would indeed be something new, as I wished, and because of that this music festival would be outstanding as compared to all the earlier ones. I would therefore very much wish that this plan, even if it be only the hope of it, be mentioned already in your first tentative announcements - how differently would the music festival appear because of it! In the interest of the public, too; in regard to the box office it would also make a palpable difference. Of course I assume that the performance would have to be considered in conjunction with both the others, and only those would receive tickets to the opera who had attended the music festival on the preceding days or had been participants in it. And even if the prices were not raised, the proceeds would be significant. Not to mention the enjoyment all friends of music would derive from it. I ask you to let me know your answer as soon as possible, as I would, as I said, to this end make my departure earlier, if necessary. In any case your speedy answer is now very much desired, as the time is now fast approaching [...]" (transl.). - In a postscript, Mendelssohn has written: "The fine tenor here, Schmidt, just came to ask if he couldn't take part in the music festival; he would try to arrange things so that he could come there at that time and take a solo pan. I told him you had written Tichatschek, but he claims that he is giving guest performances in Berlin at Pentecost and would thus not be able to come to the Rhine. Also, the things that Schmoetzer and Eichberger, whom I mentioned to him, are also detained. So I don't hesitate to let you know about his wish. In a second postscript written in the left margin of the first page Mendelssohn has added; Please have the kindness to hand the enclosed letter over to Director Schadow" (transl.). - The Lower Rhenish Music Festival (Das Niederrheinische Musikfest) was one of the most important festivals of classical music, which happened every year with few exceptions between 1818 and 1958 at Pentecost for 112 times. The Festival was held in various German cities over time and the directors included Robert Schuman, Richard Strauss, Franz Liszt, Otto Goldschmidt, Anton Rubinstein, Hans Richter & Richard Strauss. - Light browning; small clipped section on f. 2..

I hardly think the sketch will be of any use because it was done so very hastily; but I find the likeness so very good, and I ask particularly to see to it that I get it back undamaged. When you write of the dead season again, and I think again of the despairing foggy days I was amazed to see this time in James Park, and when I then also see the disgusting snow that has been lying here for several days, then I say Germany forever, after all. Small and miserably dead it is here, and yet there is much to live for. If I had enough character to turn down the next Rhinish Music Festival, it could be possible that I would stay entirely, my whole life, sitting here in Leipzig, and I and my art, we would be only the better for it. But I fear I am too vain for them; and yet I must do it sooner or later. We are furnishing our flat - as people say - i.e., there has been constant talk of wallpaper, curtains, and furniture, and in a week we are supposed to be able to move in, although we don't want to until 4 weeks from now; in a new house standing alone, on the third floor, the view to the South over the fields and the forest, to the North on the promenade and the city and towers, to the West on a big water mill with its wheels, then you only have to drop in, your quarters are ready; in a room papered with bouquets of flowers you are to have lodgings, and the white hall and our rooms are completely at your disposal. You shall hear music, half as much as I in the last weeks, i.e., up to your ears - singing, piano, quartets, of whatever kind you want. And better than all that you will find my Rüdesheimer 1834 wine. I picked it out in Bingen, had a cask of it transported here, and am creating a huge furor with it here in Leipzig because they aren't used to things like that. And now even you, who has had to make do with the barbaric [...] things: Hock [Hochheimer is a wine from the Main area], and still have a German heart - you will like it [...]" (transl. from the German original). - Mendelssohn paraphrases the quote from the opening poem of Goethe's collection of poetry, The West Eastern Divan: "North and West and South splinter, thrones burst, kingdoms tremble; fee to taste the air of patriarchs in the pure East". Rosen, to whom he refers, is the Sanskrit scholar Friedrich Rosen, who had died in London on September 12, 1837. Cecile Jeanrenaud is Mendelssohn's wife, who he had married on March 28, 1837. - Crude repair to marginal tears..

Mendelssohn greatly admired Lind and in the 1840s she became a protégée - it was rumoured that in 1847 he had written to her to suggest an elopement, though she was married at the time. - On laid paper watermarked "J. WHATMAN", with two early horizontal folds, in very good condition. - Though not formally signed, the use of his name at the beginning is effectively a signature..

Verkenius - for in fact I would like to address this letter to all three of you - I am happily returned and have found all my family safe and sound, thank God. And now I feel as though I needed quickly to return to Malzbüchel no. 4 [the Seydlitzes' address] and say something about thanks and never forgetting - which would probably sound quite as ungraceful as these lines read, but would be meant no less earnestly and sincerely. Of course you are already aware of everything I am trying to say; you know that a reception such as the one I just enjoyed at your house, and everything that was mentioned again of the present and the past, and, in brief, that lasting, unchangeable friendship is and always will be the finest, dearest and best thing in the world, and that you thus have beatified for me these just-spent days into true feasts. This is what I wished to thank you for! There have been but few hours since I parted with you that I did not do so in spirit […] (transl.)"..

- "Ruhethal" ("Adagio") sets a poem by the Swabian poet Ludwig Uhland (1787-1862), "Wenn im letzten Abendstrahl goldne Wolkenberge steigen", 35 measures in D major and 2/4 time. "Jagdlied" (" Allegro molto quasi Presto") is based on the poem by Joseph von Eichendorff (1788-1857), "Durch schwankende Wipfel schießt goldener Strahl", in B minor, the relative minor of the preceding song's scale, in 4/4 time, comprising the first 17 measures, including a stricken-out passage. - A horizontal tear in the central fold and another near the bottom have been professionally repaired. "Ruhethal" and the edges of "Jagdlied" a little browned from former mounting and presentation..

In the Queen's Library he made important discoveries with regard to the oratorio 'Israel in Egypt', and the results were incorporated into his performances of 'Israel', which he conducted a total of five times, or the first time in Düsseldorf in 1833 for the Niederrheinisches Musikfest, in a version tailored to the practical necessities of the venue. The unavailable organ was replaced by additional wind parts, and the score, then a two-part structure, was supplemented by insertions from other works by Handel or recitatives assigned to this oratorio. The 'trumpet overture' composed by Mendelssohn was prefixed to the work - a workaround solution, since the performance would, unusually, have started with a recitative" (cf. Thomas Hennig, "Die Aufführungen des "Israel in Aegypten" unter Leitung Mendelssohns"). - Somewhat spotted and browned; minor damage to edges..

Some 27 letters by Becher to Mendelssohn are known (1833-1847), but only four by the composer to the critic (from the years 1841, 1842 and 1846). The text of this letter, whose autograph has been unavailable for consultation by modern Mendelssohn scholarship, differs in a number of details from that in Renate Federhofer-Königs' edition of 1992 and in the Sämtliche Briefe (vol.8) edition of 2013. - Mendelssohn is reacting with some irritation at Becher's intention to defend him against criticisms contained in an article by Heine, which he has not seen, noting that the best policy is not to reply at all and to write new and better music, declining Becher's request for an article concerning the Düsseldorf music festival, making plain his antipathy towards contributing in any form to musical journals, assuring him however that he will relay his request to Klingemann [for a report on German opera in London], thanking him for his interest concerning his desire to write an opera, observing that while nothing would claim his attention more at the moment than this, he cannot undertake to compose any such work whose libretto does not completely satisfy him, adding that there is no truth to the report that he is writing an opera for Paris, to a libretto by Scribe, just as there was no foundation to a claim in the Allgemeine Zeitung that he was applying for the post of Thomaskantor at Leipzig; in the central portion of the letter Mendelssohn relates in heartfelt fashion his dissatisfaction with his life and position in Berlin, noting that it is already certain that he will have nothing to do with the opera, and fearing that he will be excluded from all musical influence there, states that [in Berlin] he would have all the time to compose as well as receiving paid holiday in the summer, but agonises over whether, despite these advantages, he should remain in a city where the outlook is so poor for music and musicians, pointing out his reluctance to disappoint the king [Friedrich Wilhelm IV], and asking for Becher's objective advice in this matter; in the final section of the letter, written from London, Mendelssohn informs his correspondent of Benecke's intention to visit Vienna soon and of Klingemann's decision not to promise to write for his journal. - Provenance: J. A. Stargardt, Catalogue 508 (5 May 1953), lot 67; Dr. Otto Liebmann; Antiquariat Hinterberger, Vienna. - Small holes on the third page from wear at folds, very small seal tear not affecting text..

I am also sending you the orchestral parts of the Concert-Direction; if you wish to use them for engraving, you should see whether you (the publisher) can come to an agreement with him (the Concert-Director); if not, give them to Griel so that he can put them back in the box [...]"). - Amadeus Eduard Anton Henschke was Mendelssohn's music copyist in Leipzig; Griel was a concert servant at the Leipzig Gewandhaus. Kistner himself was "because of his great organisational skills [...] appointed to the concert directorate of the Leipzig Gewandhaus [in 1835], where he took over the financial matters and the organisation of the Gewandhaus concerts. In 1843 he also became treasurer of the Leipzig Conservatoire founded by Mendelssohn and 'Deputierter aus der Klasse der Musikalienhändler' at the booktrade union in Leipzig" (Elvers, see below). - Mendelssohn wrote his cantata after Goethe's ballad of the same name in 1831/32. "Ten years later, in 1842/43, Mendelssohn fundamentally reworked his work. This second version, rehearsed and conducted (as the previous one) by the composer, was premiered on 02.021843 in the Leipzig Gewandhaus. Among the audience were Robert Schumann and Hector Berlioz, who was particularly enthusiastic about the work. It is in this second version that the work is usually performed today" (Wikipedia). - With a small tear due to the broken seal, this itself - black and with Mendelssohn's initials - is well preserved; slightly creased and torn..

Doch hoffe ich dies um so weniger, als Sie mir dieselben ja in ihrem Namen mitgetheilt haben und als ich demnach wohl bestimmt annehmen kann, daß es dabei bleibt […]" ("to pay the requested sum of 25 Louis d'or for the two volumes of Beethoven manuscripts that I recently saw in your library. However, my means would not allow me to pay a higher price and I would have to refrain from buying if the owners were to change their minds about these conditions. Iverz much hope this will not be the case, as you informed me of the conditions in your name and I can therefore safely assume that they will remain so [...]"). - Mendelssohn owned a whole series of autographs from Beethoven and others, some of which he may have received from Giacomo Meyerbeer's brother Heinrich, the enfant terrible of the family. "Although the Beer and Mendelssohn families did not like each other," a remark by Heinrich Heine in his "Confessions" (published in the "Vermischte Schriften" of 1854) provides a hint "that Heinrich Beer and Mendelssohn knew each other. Thus, it is quite credible that the eccentric Beer gave the score of the 7th Symphony to Felix Mendelssohn; whether he also gave all the other pieces mentioned cannot currently be determined. In any case, Heinrich Beer's collection of autographs, which also included Mozart's 'Abduction from the Seraglio', later belonged to Paul Mendelssohn [Felix's brother], and was expanded by pieces from Bach, which demonstrably belonged to Felix. There is no reference to this collection in the numerous papers left by Felix nor in those of Paul. It can be assumed that Felix gave his autographs to Paul for safe-keeping, as Paul was considered the 'guardian' of the family, not only in financial matters" (Elvers, see below). Mendelssohn's Beethoven autographs finally came into the possession of the Royal Library in Berlin in 1908 through a donation by Ernst von Mendelssohn Bartholdy, Paul's son. - Slight signs of wear..

und 21. September 1837, oder aber er überreichte die Notiz mit einem Geschenk von seiner Reise. - Felix Mendelssohn Bartholdy und Cécile Jeanrenaud (1817-53) hatten sich am 4. Mai 1836 kennengelernt und am 28. März 1837 in Frankfurt geheiratet. Weniger als sechs Monate nach der Hochzeit reiste Mendelssohn nach Birmingham, um seinen "Paulus" zu dirigieren und die Premiere seines 2. Klavierkonzerts zu spielen. Bereits am 27. September war das junge Paar wieder in Leipzig vereint. - Das ungewöhnliche Siegel, das Teil der Nachricht war, umfasst das Wort "[H]élas", die Nummer "1000" und eine Notenzeile mit Violinschlüssel und der Note "E", wohl für "Espoir". - Nur ein weiterer Brief Mendelssohns an Cécile ist bekannt, befindlich in der Bodleian Library, Oxford. Provenienz: 1. Sammlung von Gerald Felix Warburg und Natica Nast Warburg; 2. Versteigerung Northeastern Auctions, Portsmouth, New Hampshire, 27 October 2013, Lot 503. - Gebräunt. Das Siegel leicht ausgebrochen. Mit einer alten Restaurierung..