Carl Maria von Weber an James Robinson Planché in London
Dresden, Samstag, 19. Februar 1825

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Absolute Chronology

Preceding

Following

Direct Context

Preceding

Following

J. R. Planché, EsqrΔ

20. Brompton Crescent.

in London

My dear Sir!

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

These two acts are also filled withΔ the greatest beautiesΔ. I embrace the whole inΔ love, and will endeavour, notΔ to remain Δ behind you. ToΔ this Acknowlegment of your work, you can giveΔ credit, the more, asΔ I must repeat that the cut of the whole is very foreign toΔ all my ideas and maxims. Δ the intermixing of so many principal actorsΔ who doΔ not sing, the omission of the music in the most important moments, — all these things deprive Δ our Oberon Δ the title of an opera, and will makeΔ him unfitΔ for all other Theaters in Europe; which is a very bad thing for me. but — passons la dessus —

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

The Scene betweenΔ Sherasmin and Fatima in the 2 act; and the /: very pretty :/ Arietta of the latter, must necessarely beΔ omitted*; and the quartetto follow immediately. Also the ChorusΔ of the Pirates.      But, the time whichΔ we gainΔ thereby, we must open forΔ a Duetto betweenΔ Huon and Reiza.      The absence of this piece of musicΔ would be very muchΔ regretted; and the Scene upon the desert shore, seems the most convenient place for it. though my musical heart sighs, that the first moment whereΔ the loving pair find each-otherΔ, passes without music*. but, — the opera appears too long already. —‡

Now wish I yet, a madΔ Aria for Sherasmin, /: when he discover[s]Δ the Horn; :/ in which Fatima’s lamentations uniteΔ, and closeΔ the scene withΔ a beautiful contrast*.

Oh!Δ Dear Sir! what would notΔ we produce, if we were living in the same town.

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

“like the spot the tulip weareth”“Deep within its dewy urn”* or, in Huons SongΔ, “like hopes that deceive us” | „or false friends who leave us[“]„Soon as descendeth prosperit’ys Sun pp[“]*must be said only once.Δ

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

Mr Kemble Δ has not honored meΔ till now with an answer toΔ my letter ofΔ the 6t January.      I conclude fromΔ 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 hisΔ letter of the 4 January, which has crossed mine ofΔ the 6 January.

Yet, I must own theΔ wish, to seeΔ this affair decided at last‡; becauseΔ all sort of uncertainty puzzlesΔ me, and disturbs me in workingΔ.

To speek sincerelyΔ, I do not unterstandΔ why our honoredΔ Friend Mr Kemble hesitatesΔ to nameΔ the sum which he can offer me.‡      He knows what length he can go, to the credit ofΔ his country and Establishment. I can make noΔ demand, but I would neither appearΔ indiscreet, nor suffer injuryΔ, the latter of which‡ I have — but too frequently experiancedΔ.      Russia, Sweden, Poland, France, Scotland and England, have brought on the‡ boards my performances without their beeing entitled to it*, for my works have not been printedΔ. And tho’ I do not valueΔ money, to take notice of it, the world forces me at lastΔ.

Pardon, Dear Sir, that I am molesting Δ you with things youΔ can not be interested inΔ — but Poets and composers live together in aΔ Sort of angels-marriage which demands aΔ reciprocal trustΔ. and now it is truelyΔ time to endΔ my veryΔ checkered Epistle.

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

Editorial

Summary

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

Incipit

“I have received the second act of Oberon the 18t January”

Responsibilities

Übertragung
Eveline Bartlitz; Joachim Veit

Tradition in 2 Text Sources

  • 1. Text Source: San Marino (US), Henry E. Huntington Library and Art Gallery (US-SM)

    Physical Description

    • 1 DBl. (3 b. S. einschl. Adr.)
    • PSt: a) DRESDEN | 20. Feb. 25. b) ALLEMAGNE | PAR | FORBACH c) 4-EVEN | 2 MAR | 1825
    • am oberen Rand Bl. 1r von unbekannter Hand (Tinte): “Carl von Weber”
    • durchgehend in lateinischer Schrift

    Corresponding sources

    • Copy: Berlin (D), Staatsbibliothek zu Berlin – Preußischer Kulturbesitz, Musikabteilung (D-B)
      Shelf mark: Weberiana Cl. II B, 2ß, Nr. 3, S. 887–889

      Physical Description

      • dt. Übers.
    • MMW II, S. 589–590
    • Planché, James Robinson: Recollections and Reflections, Vol.1, London 1872, S. 76–78
    • Schloss, Albert: MANAGER'S EDITION. | OBERON | KING OF THE FAIRIES, | A ROMANTIC FAIRY OPERA, | IN THREE ACTS. | THE MUSIC | BY C. M. VON WEBER: | THE TEXT ADAPTED TO THE GERMAN STAGE, | BY THEODORE HELL, | (In German and English.) | TO WHICH ARE PREFIXED | THREE UNPUBLISHED LETTERS, WRITTEN IN ENGLISH, | BY THE COMPOSER, | TO | M. PLANCHÉ, | AUTHOR OF THE ORIGINAL OPERA, | NOW PERFORMING AT | THE THEATRE ROYAL DRURY LANE, | UNDER THE DIRECTION OF | HERR SCHUMANN, | DIRECTOR OF THE OPERA AT MAYENCE. | ACTING MANAGER, | MR. BUNN. | PRICE EIGHTEEN PENCE. | LONDON: | A. SCHLOSS, 12, BERNERS ST., OXFORD ST., | Foreign Bookseller and Fancy Stationer, by special appoiniment, to H. R. H., | the Duchess of Kent; | SOLD IN THE THEATRE. | And at all Principal Music and Booksellers, as named on wrappen., London 1841
  • 2. Text Source: Draft: Berlin (D), Staatsbibliothek zu Berlin – Preußischer Kulturbesitz, Musikabteilung (D-B)
    Shelf mark: Mus. ms. autogr. theor. C. M. v. Weber WFN 6 (XVII), Bl. 90a/v u. 90b/r

Text Constitution

  • 1.
    “your”crossed out
  • 2.
    “filled with”“plain of” crossed out and replaced with “filled with”
  • 3.
    “greatest beauties”“most beautiful things” crossed out and replaced with “greatest beauties”
  • 4.
    “in”“with” crossed out and replaced with “in”
  • 5.
    “not”added above
  • 6.
    “not”crossed out
  • 7.
    “To”added in the margin
  • 8.
    “you”added above
  • 9.
    “you”crossed out
  • 10.
    “as”“that” crossed out and replaced with “as”
  • 11.
    “to”“of” crossed out and replaced with “to”
  • 12.
    “and well be unpracticable for all other theatres in Europe /: a very bad thing for me :/”crossed out
  • 13.
    “many”“much” crossed out and replaced with “many”
  • 14.
    “Per”crossed out
  • 15.
    “actors”“performers” crossed out and replaced with “actors”
  • 16.
    “o”crossed out
  • 17.
    “the”crossed out
  • 18.
    “of”crossed out
  • 19.
    “k”“d” overwritten with “k”
  • 20.
    “unfit”“unpracticable” crossed out and replaced with “unfit”
  • 21.
    “tocken”crossed out
  • 22.
    “construed”added in the margin
  • 23.
    “confidence to”“confiffoing” crossed out and replaced with “confidence to”
  • 24.
    “between”“among” crossed out and replaced with “between”
  • 25.
    “must”“will not be” crossed out and replaced with “must”
  • 26.
    “ss”deleted text illegible
  • 27.
    “be”added inline
  • 28.
    “ich”“at” overwritten with “ich”
  • 29.
    “gain”“gains acquire” crossed out and replaced with “gain”
  • 30.
    “we”added above
  • 31.
    “we”crossed out
  • 32.
    “for”“upon” crossed out and replaced with “for”
  • 33.
    “between”deleted text illegible
  • 34.
    “The absence of the piece of”“This” crossed out and replaced with “The absence of the piece of”
  • 35.
    “the”added above
  • 36.
    “[…]piece”crossed out
  • 37.
    “much”added above
  • 38.
    “where”deleted text illegible
  • 39.
    “each other”“themself” crossed out and replaced with “each other”
  • 40.
    “… 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
  • 41.
    “mad”“foolish” crossed out and replaced with “mad”
  • 42.
    “find”crossed out
  • 43.
    “s”added inline
  • 44.
    “s”added inline
  • 45.
    “s”crossed out
  • 46.
    “s”crossed out
  • 47.
    “with”deleted text illegible
  • 48.
    “not”added above
  • 49.
    “looks more for”“must desires more” crossed out and replaced with “looks more for”
  • 50.
    “he”added in the margin
  • 51.
    “may”deleted text illegible
  • 52.
    “Song”“air” overwritten with “Song”
  • 53.
    “must be said only once.”“only once to say.” crossed out and replaced with “must be said only once.”
  • 54.
    “to”“with” crossed out and replaced with “to”
  • 55.
    “like as with an on old friend / with /”crossed out
  • 56.
    “like as with an”added in the margin
  • 57.
    “to an old acquaintance”added in the margin
  • 58.
    “as”crossed out
  • 59.
    “as”added above
  • 60.
    “me”crossed out
  • 61.
    “me”added above
  • 62.
    “with”crossed out
  • 63.
    “an”added below
  • 64.
    “ing”crossed out
  • 65.
    “to”“on” overwritten with “to”
  • 66.
    “of”“from” crossed out and replaced with “of”
  • 67.
    “from”“of” overwritten with “from”
  • 68.
    “me”crossed out
  • 69.
    “withheld me from replying to”“determined to reply upon” crossed out and replaced with “withheld me from replying to”
  • 70.
    “his”“the” crossed out and replaced with “his”
  • 71.
    “been”crossed out
  • 72.
    “ed”“ing” overwritten with “ed”
  • 73.
    “with that of”crossed out
  • 74.
    “of”“from” crossed out and replaced with “of”
  • 75.
    “own”“consess” crossed out and replaced with “own”
  • 76.
    “the”“in” overwritten with “the”
  • 77.
    “to see”“that” crossed out and replaced with “to see”
  • 78.
    “… this affair decided at last”im Entwurf: might be dec‡ at last decided; durch Ziffern Reihenfolge in die endgültige Form geändert
  • 79.
    “might be dec”crossed out
  • 80.
    “because”“while” crossed out and replaced with “because”
  • 81.
    “puzzles”“truble” crossed out and replaced with “puzzles”
  • 82.
    “in”added above
  • 83.
    “working working”sic!
  • 84.
    “working”“working” crossed out and replaced with “working”
  • 85.
    “To speek”added in the margin
  • 86.
    “said”crossed out
  • 87.
    “do not understand”“underst” crossed out and replaced with “do not understand”
  • 88.
    “ed”“able” overwritten with “ed”
  • 89.
    “hesitates”“is doubtful” crossed out and replaced with “hesitates”
  • 90.
    “name”“express to me” crossed out and replaced with “name”
  • 91.
    “… which he can offer me.”im Entwurf an dieser Stelle: /: to bid the first piece :/‡
  • 92.
    “/: to bid the first piece :/”crossed out
  • 93.
    “length he can go, to the credit of”“he can do digneworthy of” crossed out and replaced with “length he can go, to the credit of”
  • 94.
    “digne”crossed out
  • 95.
    “worthy”added above
  • 96.
    “make no”“not” crossed out and replaced with “make no”
  • 97.
    “neither not appear”crossed out
  • 98.
    “injury”“damage” crossed out and replaced with “injury”
  • 99.
    “… , the latter of which”im Entwurf ursprünglich: of which the latter; durch Ziffern in die richtige Reihenfolge gebracht
  • 100.
    “too frequently experianced”“make proved” crossed out and replaced with “too frequently experianced”
  • 101.
    “… , have brought on the”der Beginn des Satzes steht im Entwurf am Rand.
  • 102.
    “have”“are” crossed out and replaced with “have”
  • 103.
    “been”“not published by […] print” crossed out and replaced with “been”
  • 104.
    “and though I do not value”“if I also not esteem” crossed out and replaced with “and though I do not value”
  • 105.
    “at last”“at least findly” crossed out and replaced with “at last”
  • 106.
    “which property spoken”crossed out
  • 107.
    “you”added in the margin
  • 108.
    “ed in”“ing” overwritten with “ed in”
  • 109.
    “a”added above
  • 110.
    “a”deleted text illegible
  • 111.
    “trust”“confidence” overwritten with “trust”
  • 112.
    “truely”added in the margin
  • 113.
    “end”“finish” crossed out and replaced with “end”
  • 114.
    “very”added above

Commentary

  • 1.
    “… latter, must necessarely be omitted”Der Dialog von Sherasmin und Fatime sowie Fatimes Arietta (Nr. 10) blieben schließlich doch als Bestandteil von Szene II/2 erhalten.
  • 2.
    “… each-other , passes without music”Dieser Vorschlag wurde schließlich nicht umgesetzt.
  • 3.
    “… scene with a beautiful contrast”Auch dieser Vorschlag wurde schließlich nicht umgesetzt.
  • 4.
    “… Deep within its dewy urn”Duett Nr. 6, Rezia.
  • 5.
    “… descendeth prosperit'ys Sun pp “”Aus der ursprünglichen (nicht vertonten) Fassung von Huons Rondo Nr. 20.
  • 6.
    “… their beeing entitled to it”Weber 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.

Readings

  • 1.
    Text Source 1: “Esqr”
    Text Source 2: No text present.
  • 2.
    Text Source 1: No text present.
    Text Source 2: “your”
  • 3.
    Text Source 1: “filled with”
    Text Source 2: “plain of filled with”
  • 4.
    Text Source 1: “greatest beauties”
    Text Source 2: “most beautiful things greatest beauties”
  • 5.
    Text Source 1: “in”
    Text Source 2: “with in”
  • 6.
    Text Source 1: “not”
    Text Source 2: “not”
  • 7.
    Text Source 1: No text present.
    Text Source 2: “not”
  • 8.
    Text Source 1: “To”
    Text Source 2: “To”
  • 9.
    Text Source 1: “you can give”
    Text Source 2: “you can you give”
  • 10.
    Text Source 1: “as”
    Text Source 2: “that as”
  • 11.
    Text Source 1: “to”
    Text Source 2: “of to”
  • 12.
    Text Source 1: No text present.
    Text Source 2: “and well be unpracticable for all other theatres in Europe /: a very bad thing for me :/”
  • 13.
    Text Source 1: “many principal actors”
    Text Source 2: “much many Per principal performers actors”
  • 14.
    Text Source 1: “do”
    Text Source 2: “doo”
  • 15.
    Text Source 1: No text present.
    Text Source 2: “the”
  • 16.
    Text Source 1: No text present.
    Text Source 2: “of”
  • 17.
    Text Source 1: “make”
    Text Source 2: “madke”
  • 18.
    Text Source 1: “unfit”
    Text Source 2: “unpracticable unfit”
  • 19.
    Text Source 1: “so well construed”
    Text Source 2: “tocken so well construed”
  • 20.
    Text Source 1: “confidence to”
    Text Source 2: “confiffoing confidence to”
  • 21.
    Text Source 1: “between”
    Text Source 2: “among between”
  • 22.
    Text Source 1: “must necessarely be”
    Text Source 2: “will not be must nece[…]ssarely be”
  • 23.
    Text Source 1: “Chorus”
    Text Source 2: “Chorus”
  • 24.
    Text Source 1: “which”
    Text Source 2: “whatich”
  • 25.
    Text Source 1: “gain”
    Text Source 2: “gains acquire gain”
  • 26.
    Text Source 1: “we must open for”
    Text Source 2: “we must we spend upon for”
  • 27.
    Text Source 1: “Duetto between”
    Text Source 2: “Duo […] between”
  • 28.
    Text Source 1: “The absence of this piece of music”
    Text Source 2: “This The absence of the piece of music […]piece”
  • 29.
    Text Source 1: “much”
    Text Source 2: “much”
  • 30.
    Text Source 1: “where”
    Text Source 2: “[…] where”
  • 31.
    Text Source 1: “each-other”
    Text Source 2: “themself each other”
  • 32.
    Text Source 1: “mad”
    Text Source 2: “foolish mad”
  • 33.
    Text Source 1: “discovers”
    Text Source 2: “find discovers”
  • 34.
    Text Source 1: “lamentations unite”
    Text Source 2: “lamentations unites”
  • 35.
    Text Source 1: “close”
    Text Source 2: “closes”
  • 36.
    Text Source 1: “with”
    Text Source 2: “[…] with”
  • 37.
    Text Source 1: “Oh!”
    Text Source 2: “Oh”
  • 38.
    Text Source 1: “not”
    Text Source 2: “not”
  • 39.
    Text Source 1: “looks more for”
    Text Source 2: “must desires more looks more for”
  • 40.
    Text Source 1: “he may”
    Text Source 2: “he […] may”
  • 41.
    Text Source 1: “Song”
    Text Source 2: “air Song”
  • 42.
    Text Source 1: “must be said only once.”
    Text Source 2: “only once to say. must be said only once.”
  • 43.
    Text Source 1: “to”
    Text Source 2: “with to”
  • 44.
    Text Source 1: “to an old acquaintance”
    Text Source 2: “like as with an on old friend / with / to an old acquaintance”
  • 45.
    Text Source 1: No text present.
    Text Source 2: “as”
  • 46.
    Text Source 1: No text present.
    Text Source 2: “me”
  • 47.
    Text Source 1: “me”
    Text Source 2: “me with”
  • 48.
    Text Source 1: “an answer to”
    Text Source 2: “an answering on to”
  • 49.
    Text Source 1: “of”
    Text Source 2: “from of”
  • 50.
    Text Source 1: “from”
    Text Source 2: “of from”
  • 51.
    Text Source 1: “also withheld me from replying to his”
    Text Source 2: “me also determined to reply upon withheld me from replying to the his”
  • 52.
    Text Source 1: “has crossed mine of”
    Text Source 2: “has been crossinged with that of mine from of”
  • 53.
    Text Source 1: “own the”
    Text Source 2: “consess own in the”
  • 54.
    Text Source 1: “to see”
    Text Source 2: “that to see”
  • 55.
    Text Source 1: “because”
    Text Source 2: “while because”
  • 56.
    Text Source 1: “puzzles”
    Text Source 2: “truble puzzles”
  • 57.
    Text Source 1: “in working”
    Text Source 2: “in working working”
  • 58.
    Text Source 1: “To speek sincerely”
    Text Source 2: “To speek sincerely said”
  • 59.
    Text Source 1: “do not unterstand”
    Text Source 2: “underst do not understand”
  • 60.
    Text Source 1: “honored”
    Text Source 2: “honorableed”
  • 61.
    Text Source 1: “hesitates”
    Text Source 2: “is doubtful hesitates”
  • 62.
    Text Source 1: “name”
    Text Source 2: “express to me name”
  • 63.
    Text Source 1: “length he can go, to the credit of”
    Text Source 2: “he can do digneworthy of length he can go, to the credit of”
  • 64.
    Text Source 1: “make no”
    Text Source 2: “not make no”
  • 65.
    Text Source 1: “neither appear”
    Text Source 2: “neither not appear neither appear”
  • 66.
    Text Source 1: “injury”
    Text Source 2: “damage injury”
  • 67.
    Text Source 1: “too frequently experianced”
    Text Source 2: “make proved too frequently experianced”
  • 68.
    Text Source 1: “have not been printed”
    Text Source : “are have not published by […] print been printed”
  • 69.
    Text Source 1: “And tho’ I do not value”
    Text Source 2: “if I also not esteem and though I do not value”
  • 70.
    Text Source 1: “at last”
    Text Source 2: “at least findlyat last”
  • 71.
    Text Source 1: No text present.
    Text Source 2: “which property spoken”
  • 72.
    Text Source 1: “you”
    Text Source 2: “you”
  • 73.
    Text Source 1: “interested in”
    Text Source 2: “interestinged in”
  • 74.
    Text Source 1: “a”
    Text Source 2: “a”
  • 75.
    Text Source 1: “a”
    Text Source 2: “[…] a”
  • 76.
    Text Source 1: “trust”
    Text Source 2: “confidence trust”
  • 77.
    Text Source 1: “truely”
    Text Source 2: “truely”
  • 78.
    Text Source 1: “end”
    Text Source 2: “finish end”
  • 79.
    Text Source 1: “very”
    Text Source 2: “very”

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