Benedict's letters and other materials are scattered all over archives with only minimal rhyme and reason, which makes research tricky but not impossible - for instance, Berlin holds a large collection of his letters and writings, including the manuscript of his Weber biography. Another American archive holding a fair number of letters is the Folger Shakespeare Library in Washington D.C., which may seem odd except that Benedict wrote incidental music for Henry Irving's production of Romeo and Juliet in 1882 (some of the letters are addressed to Bram Stoker, Irving's manager) and he also composed an overture to The Tempest (op. 77) which was performed at the Exeter Hall on 11 March 1856 and published by Enoch & Sons in full score in 1875. He had contacts all over Europe and the United States, so it makes sense that people who came into possession of his materials (and valued them enough to keep them) gave them to institutions they lived near. The contents of Cornell's particular packet of letters in French were all sent to the same addressee, whose address is not listed in the Olin Library's catalogue. In my paper I quote from an 1844 letter to Ludwig Rellstab requesting help in securing German performances of his recently produced opera The Brides of Venice, which is not in an archive but in a German autograph dealer's list which quotes the passage. As most autograph collectors want the object but not necessarily its contents, I've written the dealer several times offering to pay for a transcript of the whole letter, which he has evidently already made, but have had no response. So it seems I'd have to pay 500 euros to get the letter to make a translation myself, which I cannot really justify or do, but at least I have the reference to the dealer's catalogue.
My biggest discovery was finding out that his journals from 1840 to 1885 (lacking 1882) are at the RCM. It's really surprising that he was such an assiduous diarist - when did he have the time? - though his journals may mostly consist of business matters. I'm making a start at examining them when I come to the UK next month.
He must have had enormous commitment and energy to do as much as he did from when he arrived in Britain in 1836 plus attending to what seems to have been a loving family of a wife and five (!) children. Losing his wife and young son in 1851-52 must have been a shattering blow, and it's a sign of the strength of his character that he emerged in 1854 from a long period of near-total seclusion and threw himself back into his work with the same energy as before, leading up to composing The Lily of Killarney in 1862, his symphony in 1873, organizing and conducting the Norwich Festivals and his monster annual concerts as before, and conducting the Liverpool Philharmonic from 1867 to 1880. His remarriage in 1879 caused some comment, as he was 75 and his bride, Mary Comber Fortey (who had been a student of his for some years and was evidently an excellent pianist), was 23. They even had a son in 1881.
Benedict often appeared in caricatures as he was such an omnipresent musical figure, but occasionally some of them seem, to me at least, a little nasty. This 1873 image by "Spy" (Leslie Ward) seems to refer to Benedict's Jewish background in its pose and the hair "tails" (which he never wore), although he had converted to Catholicism (his first wife was a French Catholic) in 1833. Maybe I'm reading too much into it, but I'd be glad of others' opinions. https://en.wikipedia.org/wiki/Julius_Benedict#/media/File:Sir_Julius_Benedict_Vanity_Fair_27_September_1873.jpg
My biggest discovery was finding out that his journals from 1840 to 1885 (lacking 1882) are at the RCM. It's really surprising that he was such an assiduous diarist - when did he have the time? - though his journals may mostly consist of business matters. I'm making a start at examining them when I come to the UK next month.
He must have had enormous commitment and energy to do as much as he did from when he arrived in Britain in 1836 plus attending to what seems to have been a loving family of a wife and five (!) children. Losing his wife and young son in 1851-52 must have been a shattering blow, and it's a sign of the strength of his character that he emerged in 1854 from a long period of near-total seclusion and threw himself back into his work with the same energy as before, leading up to composing The Lily of Killarney in 1862, his symphony in 1873, organizing and conducting the Norwich Festivals and his monster annual concerts as before, and conducting the Liverpool Philharmonic from 1867 to 1880. His remarriage in 1879 caused some comment, as he was 75 and his bride, Mary Comber Fortey (who had been a student of his for some years and was evidently an excellent pianist), was 23. They even had a son in 1881.
Benedict often appeared in caricatures as he was such an omnipresent musical figure, but occasionally some of them seem, to me at least, a little nasty. This 1873 image by "Spy" (Leslie Ward) seems to refer to Benedict's Jewish background in its pose and the hair "tails" (which he never wore), although he had converted to Catholicism (his first wife was a French Catholic) in 1833. Maybe I'm reading too much into it, but I'd be glad of others' opinions. https://en.wikipedia.org/wiki/Julius_Benedict#/media/File:Sir_Julius_Benedict_Vanity_Fair_27_September_1873.jpg