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Felix Mendelssohn Autograph Letter Signed. ...
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Description
Mendelssohn Writes to his Collaborator About Their Current Project, "What a great pleasure you gave me with these songs; I don't know anybody whose lines seem to have come from the bottom of my heart"
Felix Mendelssohn Autograph Letter Signed. Six pages, 8 ½ x
10 ½ inches, Leipzig; January 1, 1839.A lengthy letter in German to his close friend and collaborator, Carl Klingemann, sharing updates about his musical career, his family, and his social life.
Translated into English, the letter reads, in part:
"Surely you did receive my little songs for four voices through Mr. Bowley, the clarinet player? That was just nice that I received your letter with your songs the next day after his departure when I was thinking whether Klingemann will answer it, so that I had already my reply. What a great pleasure you gave me with these songs; I don't know anybody whose lines seem to have come from the bottom of my heart and over which I grow so passionate and which arouse such a homely feeling like your verses; my favorite piece is no. 5 'Herbstlied' [Autumn Song] which corresponds to my inmost thoughts; I set it to music at once, but I like your poetry so much that I don't know yet whether my music is good or whether I only like it because I can sing it; that's why I don't send it to you yet. The 2nd and 3rd, too, are such favorites of mine, but it is not easy to tackle them musically, one can easily fall on one's nose. But in fact they are all my favorites; after all they are the first new poems for a long time which fill my heart and I made my own. I certainly do make a point of looking for good poetry; but what one reads that disappears the moment one turns the page. But not your pieces; now I am looking forward to your 'Liederkreis' which you have still up your sleeve... For the time being I have to go again to Dusseldorf next Whitsun; this time for once I didn't like it very much and I am of two minds about it; it would have worked out for me much smoother, if they had put it off till next year, wherefrom I would have gone on to London, whereas now I have to retrace a 2-day's journey only away from that wonderful country. My psalm 'Wie der Hirsch' [As Pants the Hart] among others will probably be performed at the festivals; if you staged it too, as you say, I am glad not to have been present, because none of my pieces makes me more angry, if I hear it poorly performed, and has to be played more delicate...
You want to hear of our concerts, and in fact it goes all very splendidly this winter; the concert hall has become too small for the number of listeners, and everybody seems to be content, the orchestra plays so well as it is possible and is festive indeed. Mme. Shaw is adored and admired, but she does not produce so lively an impression as she deserves in my opinion; the reason for this is largely that Mme. Novello who, as you know, has only recently visited this district for the second time, traveled ahead of her everywhere and snatched away everything but there is also quite something to the personality, especially to that of her husband. Most people think him to be ludicrous and in addition he attracts attention in a more damaging than profitable way...
I was extremely pleased by [Sigismond Thalberg's] play; it is just like anything one might wish, perfect... done in such a subtle and superfine manner that I listened to his play... Add to that the splendid touch, the strength of his fist together with his slender fingers, soft and skilled. He should make a little more music though, it is lacking in the fantasias and paraphrases he played here exclusively, one can hardly call it compositions, because the composition in it is so subordinate and yet it remains the main thing which always comes through everywhere and determines the effect. But what virtuosity is, no human being can dream up more of it, and that alone pleases me so much, if somebody is truly perfect, what he is. I like the chap very much, he is pleasant and amiable and clever, a rather rare character and I enjoyed his company and his conversation very much indeed. There again the eternal misconception appears, that now he wants above all to earn money and to fascinate his audience and then in later years he intends to write good music and to be self-sufficient. Should not all great artists (at least the real great ones) think like that? In the meantime Moscheles has actually amidst all his duties written his concert in G minor and the études...
Talking of the new pieces I have written a sonata for piano and cello, which you will like, I hope, 3...quartettes (Dedit au prince royal de Suede) - I want to assume an air of superiority - a new psalm in Es major is almost finished and I made a beginning with a symphony in B major. A bad sonata for piano and violin, various songs with and without words I do not count. Because of my measles which came upon me right at the beginning of the concerts, I slumped into the rush of the concerts and into business so that I was taken by surprise by Christmas and New Year and I am still in arrears with letters and work and didn't have a chance yet to do a decent bit of work. But one of these days I hope to get down to proper work again. Now I've prattled to you for a while. Long was my yarn, just as it came to my mind.
Your Felix."
One of Mendelssohn's closest friends and collaborators, Carl Klingemann spent the majority of his career in London as a representative of the Kingdom of Hanover. Mendelssohn and Klingemann maintained an extensive correspondence in which they discussed their collaborations. In addition to his commentary on fellow musicians as well as his own work, Mendelssohn praises Klingemann for his poetic genius and offers detailed updates on his family members, current events in Leipzig, and his recent bout of measles.
Mendelssohn refers to his 1837 masterpiece, Wie der Hirsch schreit, also known as Psalm 42, in which the composer set to music Luther's German translation of the psalm. Although Mendelssohn was a notorious critic of his own compositions, he held the cantata in high regard and described it as his "very best sacred composition." His enthusiasm for the piece resulted in intense disdain when played incorrectly, as displayed in the letter here.
Best remembered for his symphonies, concertos, and chamber music, Mendelssohn is considered one of the greatest composers of the Romantic period. Unlike his contemporaries who favored more flamboyant approaches to music, Mendelssohn relied on conservative styles that preserved traditional classical formats. Following his death in 1847, he was revered in both Germany and England. Although his reputation suffered in Germany under the Nazi regime, which banned his works due to his Jewish heritage, modern appreciation has remained consistent.
A candid and heartfelt letter between two of the most prominent musicians and lyricists of the Romantic period.
Condition: Creased along folds and toned throughout. Very small closed tears to the right and bottom margins of each page with the sixth page exhibiting some open tears and minor paper loss to the right margin. There is a hole in the center of the fifth and sixth pages, affecting text. Separations to the first and sixth pages have been repaired with tape.
Provenance: The Rendell Gallery.
Auction Info
2023 December 15 Historical Platinum Session Signature® Auction #6280 (go to Auction Home page)
Auction Dates
December, 2023
15th
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