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Introduction XX Introduction The three pieces edited in this volume are arrangements by the manner in which he formulates his correspondence with me is composer of original sacred works for solo voices, four-part simply too whimsical to deprive you of, and I am thus enclosing chorus and organ. Whereas the two pieces with English texts his letter. It is one of many of his strange, half-crazed nature.”4 – the Anthem “Why, o Lord, delay for ever” MWV A 19 and In the enclosed letter, Broadley had asked Moscheles a few days the Hymn “Hear my prayer” MWV B 49 – were commissions, earlier: “With reference to the Prelude, you were kind enough the orchestral transcription of the organ part of the “Ave Maria” to say you would name to Mr. Mendelssohn, I beg to say that op. 23 no. 2 MWV B 19 was practically necessitated by the Organists in England generally indulge on those occasions in a unique conditions encountered by musicians in Düsseldorf. style rather florid – at one time with an extra-low pedal bass – at another time on the very top of the Instrument either in thirds, or after the manner of some of the ad libitum passages in the Anthem “Why, o Lord, delay for ever” MWV A 19 for Solo Gems a la Paganini of yours; I think this has a very good effect (Alto or Mezzosoprano), Chorus and Orchestra for organ Prelude, particularly on the Swell. If Mr. Mendels- sohn will take the trouble to write me such a prelude, for my The Anthem MWV A 19 can be briefly described as an orches- own private Album, without his publishing the same, or letting tration and revision of MWV B 33,1 written in 1840, which it be known, I shall be happy to pay him a proportionate extra had been printed in 1841 both by Cramer & Co. and Sim- Fee. […] Perhaps you will intimate to Mr. Mendelssohn for his rock as Drei geistliche Lieder for solo, chorus and organ. The prelude, that English organs generally go from G to G 5 octaves: author of the libretto – a paraphrase of the 13th Psalm – had but that the York organ (with which I am acquainted) goes from commissioned both the musical setting as well as the orchestra- C to C, six octaves (being half an octave higher, and half an tion: Dr. Charles Bayles Broadley (1800–1866), Deputy Queen’s octave lower than the G organ).”5 Mendelssohn justifiably re- professor of civil law at Cambridge University’s Trinity College. jected this request, however, in a reply addressed to Moscheles, Ignaz Moscheles (1794–1870), who gave Broadley composition he inquired: “May I ask you […] to present my apologies to him lessons, characterized him as a headstrong, engaging, yet com- [Broadley] (and to you) for not being able to send the desired manding and learned presence. Praeludium; it is not for the lack of good will, but I simply do From an entry of 1841 in her husband’s diary, Charlotte not know how to write a Praeludium that is truly integral to Moscheles estimates that: “Among the many students of the the work, without altering its form and providing it with an ap- past years was the tirelessly original Mr. B.: ‘The huge figure pearance it does not deserve; I would rather leave it up to every strove to create huge works, with ideas bubbling forth from be- organist to let his fingers revel in E flat major and related keys, neath a wig of curls. He brings me a freshly baked psalm, a mo- to the extent that he is capable of, be it long or short, lovely or tet, a hymn for perusal, and I correct by taking a white sheet of frightful.”6 paper, putting to music his often eccentric texts and asking him: One and a half years later, in October 1842, Moscheles once ‘Is not that what you meant to express?’ whereupon he always again contacted Mendelssohn at Broadley’s behest, and once replied with: ‘Oh yes and just so.’”2 Elsewhere, Felix Mosche- again concerning the Anthem: “Mer Broadley begs me to ask les (1833–1917), the composer’s son, described Broadley as “an you to orchestrate the Psalm which you wrote for him, and to eccentric, wealthy music lover who unsuccessfully attempted to send him the manuscript score, for which he offers you 10 guin- produce compositions of his own.”3 eas.”7 This time the composer replied in the affirmative: “I shall Even before the publication of the work with organ accom- try to see whether I can drape Broadley’s piece in an orchestral paniment MWV B 33, Broadley had requested a prelude for garment, and in the event that it works, I shall send it to you this piece, as Moscheles informed Mendelssohn on 9 February post-haste.”8 Broadley was apparently endeavoring – most likely 1841: “It is his [Broadley’s] wish to own a Prelude of yours (one since the summer of 1842 at the latest – to have all three com- page long, as it were) for this psalm, which he can conserve in missioned psalm settings available at hand, and scored for cho- his album, and would like to have a few measures following the rus and orchestra. Louis Spohr also later orchestrated his Psalm chorale printed as a prelude to the last number. The curious 128 “O Bless’d for ever, bless’d are they.” He completed a version 1 Publication and history of its origins in Series VI, Vol. 2 of this edition. 2 Aus Moscheles’ Leben. Nach Briefen und Tagebüchern, ed. by Charlotte Moscheles, Leipzig, 1873, Vol. 2 (hereafter: Aus Moscheles’ Leben), p. 82. 3 Briefe von Felix Mendelssohn-Bartholdy an Ignaz und Charlotte Moscheles, ed. by Felix Moscheles, Leipzig, 1888 (hereafter: Briefe an Moscheles), p. 204, note 2. 4 Letter from Ignaz and Charlotte Moscheles to Felix Mendelssohn Bartholdy of 9 February 1841, Bodleian Library, University of Oxford (hereafter: GB-Ob), MS. M. Deneke Mendelssohn d. 39, Green Books XIII-66, printed in: David Brodbeck, Some Notes on an Anthem by Mendelssohn, in: Mendels- sohn and his World, ed. by R. Larry Todd, Princeton, 1991, pp. 43–64 (hereafter: David Brodbeck, Some Notes), p. 60, note 5. 5 Letter from Charles B. Broadley to Ignaz Moscheles of 8 February 1841, GB-Ob, MS. M. Deneke Mendelssohn d. 39, Green Books XIII-62 (Letter originally enclosed in Green Books XIII-66), printed in: David Brodbeck, Some Notes [note 4], pp. 57–58, quotation on p. 58. 6 Letter to Ignaz Moscheles of 14 March 1841, University of Leeds, Leeds University Library, Brotherton Collection, without shelfmark (album Men- delssohn’s Letters to Moscheles 1826–1847) (hereafter: GB-LEbc, Mendelssohn’s Letters to Moscheles), fol. 43, printed in: Briefe an Moscheles [note 3], pp. 206–209, quotation on p. 207. 7 Letter from Ignaz Moscheles to Felix Mendelssohn Bartholdy of 20 October 1842, GB-Ob, MS. M. Deneke Mendelssohn d. 42, Green Books XVI-78. 8 Letter to Ignaz Moscheles of 18 November 1842, GB-LEbc, Mendelssohn’s Letters to Moscheles, fol. 45, printed in: Briefe an Moscheles [note 3], pp. 219–223, quotation on p. 223. XXI for organ in April 1841, and the manuscript of the version with keyboard instrument as opus 100 in 1842 or early 1843.15 In full orchestra is dated September 1842.9 Here, too, only the ver- addition, all three works by Mendelssohn, Moscheles and Spohr sion with keyboard instrument was printed with differing opus contain chorales or chorale-like segments, which let us assume numbers, first by Cramer, Chappell & White in England, then, that Broadley also expressly wished for this, as chorales did not in autumn 1842, by Simrock in Germany. With the setting of usually belong to the inventory of English church music.16 Psalm 93 that had been assigned to him, “Robed in pow’r Jeho- Mendelssohn did not simply settle for orchestrating the piece vah reigneth”, Ignaz Moscheles approached his task in a more as stipulated, but used the opportunity to write an expansive leisurely way:10 By February 1841 he had nothing but a few choral fugue on the slightly altered wording of the last lines sketches to show for himself. Incidentally, he had considerable of the poem.17 Joining the woodwinds and strings in this clos- trouble completing the work, as he intimated to Mendelssohn: ing fugue are trumpets and timpani. The work was completed “As you can see, he [Broadley] was envisioning the building of on 5 January 1843,18 the copy transcribed by Eduard Hensch- a cloverleaf of psalms, in that, thanks to me, he had Spohr be ke was brought to an end on 14 January;19 two days later asked to write one as well. I dare not even think of the role I am Mendelssohn sent it to Moscheles with a cover letter: “Herewith to play here. I have completed the draft of my piece (Psalm 93) enclosed is a score for Mr. Broadley. I inserted an additional […] Ah! if only I had the benefit of your advice and opinion! If fugue and feel that this is now the best piece of the lot. It is like only I had the same luck as F. Hiller, who is able to work close the little shopkeeper who throws in an extra biscuit. […] Now by you, and must certainly get advice from you! I am confi- I’ve completed it, and beg you to kindly pass it on to him with dent, at least, that my efforts can be sung and that no one will my greetings; I shall also write him a few lines that I will enclose confuse it with a stage work – but that is not enough!”11 Even herewith.”20 In his note of thanks, Broadley addressed himself though Mendelssohn comforted him with the words “[…] if directly to Mendelssohn: “I have received from Mr.
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