WeGA, Briefe, Digitale Edition Carl Maria von Weber an James Robinson Planché in London<lb/>Dresden, Samstag, 19. Februar 1825 Weber, Carl Maria von Veit, Joachim Übertragung Eveline Bartlitz Joachim Veit

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Machine-Readable Transcriptions of Texts from the Carl Maria von Weber Complete Edition (WeGA)

bestätigt Erhalt Akt 2–3 Oberon; das Ganze sage ihm zu, obwohl es seinen Vorstellungen von einer Oper nicht entspreche; Änderungswünsche, besonders die zu wenig Gefühlsausdruck enthaltenden Verse betr.; erwartet Kembles Zusage zur Verschiebung der Oper und dessen Honorarvorschlag I have received the second act of Oberon the 18t January

US; San Marino; Henry E. Huntington Library and Art Gallery

D; Berlin; Staatsbibliothek zu Berlin – Preußischer Kulturbesitz, Musikabteilung; Mus. ms. autogr. theor. C. M. v. Weber WFN 6 (XVII), Bl. 90a/v u. 90b/r

Carl-Maria-von-Weber-Gesamtausgabe, Sämtliche Briefe

Übertragung folgt den ER der WeGA

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Englisch Obsoletes Element tei:textClass entfernt Abweichungen zum Entwurf als Apparateinträge ergänzt und Status erhöht mit Faks. gegengelesen, Unterstreichungen, Trennstrich-Korr., Postst. u. a. erg. (EB); Durchsicht u. notes, von Frank Ziegler Faksimiles von Papiervorlagen gescannt und eingefügt Weitere Überlieferung in bibl angegeben Text eingefügt und ausgezeichnet ID und @keys gegen nicht-sprechende ersetzt. Initiale Transformation aus askSam DB Briefe1
J. R. Planché, Esqr 20. Brompton Crescent. in London
My dear Sir!

I have received the second act of Oberon the 18t January, and the third act, and your very amiable letter, in one and the same Day, the 1t February.

These two acts are also filled with the greatest beauties. I embrace the whole in love, and will endeavour, not to remain behind you. To this Acknowlegment of your work, you can give credit, the more, as I must repeat that the cut of the whole is very foreign to all my ideas and maxims. the intermixing of so many principal actors who do not sing, the omission of the music in the most important moments, — all these things deprive our Oberon the title of an opera, and will make him unfit for all other Theaters in Europe; which is a very bad thing for me. but — passons la dessus —

You have so well construed my first prayers; that I continue with proposals, in confidence to your Kindness.

The Scene between Sherasmin and Fatima in the 2 act; and the /: very pretty :/ Arietta of the latter, must necessarely be omittedDer Dialog von Sherasmin und Fatime sowie Fatimes Arietta (Nr. 10) blieben schließlich doch als Bestandteil von Szene II/2 erhalten.; and the quartetto follow immediately. Also the Chorus of the Pirates. But, the time which we gain thereby, we must open for a Duetto between Huon and Reiza. The absence of this piece of music would be very much regretted; and the Scene upon the desert shore, seems the most convenient place for it. though my musical heart sighs, that the first moment where the loving pair find each-other, passes without musicDieser Vorschlag wurde schließlich nicht umgesetzt.. but, — the opera appears too long already. —im Entwurf ursprünglich: already seems the whole opera too long; korrigiert zu: already appears the opera too long und durch Ziffern in die endgültige Reihenfolge gebracht

Now wish I yet, a mad Aria for Sherasmin, /: when he discovers the Horn; :/ in which Fatima's lamentations unite, and close the scene with a beautiful contrastAuch dieser Vorschlag wurde schließlich nicht umgesetzt..

Oh! Dear Sir! what would not we produce, if we were living in the same town.

Still I beg leave to observe, that the composer looks more for the expression of feelings than the figurative. the former he may repeat and develop in all their graduations; but, verses, like

like the spot the tulip weareth Deep within its dewy urnDuett Nr. 6, Rezia. or, in Huons Song, like hopes that deceive us „or false friends who leave us „Soon as descendeth prosperit'ys Sun ppAus der ursprünglichen (nicht vertonten) Fassung von Huons Rondo Nr. 20. must be said only once.

You See, that I speak to you, as to an old acquaintance, and I hope at least that you will consider it so.

Mr Kemble has not honored me till now with an answer to my letter of the 6t January. I conclude from this, that he is convinced of the necessity to retard the opera, and that consequentely we have time to regulate our affair. The same reason has also withheld me from replying to his letter of the 4 January, which has crossed mine of the 6 January.

Yet, I must own the wish, to see this affair decided at lastim Entwurf: might be dec at last decided; durch Ziffern Reihenfolge in die endgültige Form geändert; because all sort of uncertainty puzzles me, and disturbs me in working.

To speek sincerely, I do not unterstand why our honored Friend Mr Kemble hesitates to name the sum which he can offer me.im Entwurf an dieser Stelle: /: to bid the first piece :/ He knows what length he can go, to the credit of his country and Establishment. I can make no demand, but I would neither appear indiscreet, nor suffer injury, the latter of whichim Entwurf ursprünglich: of which the latter; durch Ziffern in die richtige Reihenfolge gebracht I have — but too frequently experianced. Russia, Sweden, Poland, France, Scotland and England, have brought on theder Beginn des Satzes steht im Entwurf am Rand. boards my performances without their beeing entitled to itWeber bezieht sich hier wohl u. a. auf die Freischütz-Aufführungen in Riga (ab 25. September = 7. Oktober 1822), Stockholm (ab 23. April 1823), St. Petersburg (ab 7. = 19. Januar 1824), London (ab 22. Juli 1824), Paris (ab 7. Dezember 1824) und Edinburgh (ab 29. Dezember 1824), für die er keine Honorarzahlungen erhalten hatte., for my works have not been printed. And tho' I do not value money, to take notice of it, the world forces me at last.

Pardon, Dear Sir, that I am molesting you with things you can not be interested in — but Poets and composers live together in a Sort of angels-marriage which demands a reciprocal trust. and now it is truely time to end my very checkered Epistle.

I am with the greatest esteem and regard Your most obedient Servant C. M. von Weber. Dresden, Februar the 19th 1825.