If you are too busy or too lazy to write to me, answer me through the erratum in the paper, and that shall signify to me that you, Madame Schlesinger, and your children are all well. —Yours very truly, July 22 [1843]. F. CHOPIN.
The first complete edition of Chopin's works was, according to Karasowski, [FOOTNOTE: More recently the same firm brought out the works of Chopin edited by Jean Kleczynski.] that published in 1864, with the authorisation of the composer's family, by Gebethner and Wolff, of Warsaw. But the most important editions— namely, critical editions—are Tellefsen's (I mention them in chronological order), Klindworth's, Scholtz's, and Breitkopf and Hartel's. Simon Richault, of Paris, the publisher of the first- named edition, which appeared in 1860, says in the preface to it that Tellefsen had in his possession a collection of the works of Chopin corrected by the composer's own hand. As to the violoncello part of the Polonaise, it was printed as Franchomme always played it with the composer. The edition was also to be free from all marks of expression that were not Chopin's own. Notwithstanding all this, Tellefsen's edition left much to be desired.
My friend and fellow-pupil, Thomas Tellefsen [writes Mikuli], who, till Chopin's last breath, had the happiness to be in uninterrupted intercourse with him, was quite in a position to bring out correctly his master's works in the complete edition undertaken by him for Richault. Unfortunately, a serious illness and his death interrupted this labour, so that numerous misprints remained uncorrected.
[FOOTNOTE: Mikuli's spelling of the name is Telefsen, whereas it is Tellefsen on the Norwegian's edition of Chopin's works, in all the dictionaries that mention him, and in the contemporary newspaper notices and advertisements I have come across.]
[FOOTNOTE: I do not know how to reconcile this last remark with the publisher's statement that the edition appeared in 1860 (it was entered at Stationers' Hall on September 20, 1860), and Tellefsen's death at Paris in October, 1874.]
Klindworth's edition, the first volume of which appeared in October, 1873, and the last in March, 1876, at Moscow (P. Jurgenson), in six volumes, is described on the title-page as "Complete works of Fr. Chopin critically revised after the original French, German, and Polish editions, carefully corrected and minutely fingered for pupils." [FOOTNOTE: This edition has been reprinted by Augener & Co., of London.] The work done by Klindworth is one of the greatest merit, and has received the highest commendations of such men as Liszt and Hans von Bulow. Objections that can be made to it are, that the fingering, although excellent, is not always Chopinesque; and that the alteration of the rhythmically-indefinite small notes of the original into rhythmically-definite ones, although facilitating the execution for learners, counteracts the composer's intention. Mikuli holds that an appeal to Chopin's manuscripts is of no use as they are full of slips of the pen—wrong notes and values, wrong accidentals and clefs, wrong slurs and 8va markings, and omissions of dots and chord-intervals. The original French, German, and English editions he regards likewise as unreliable. But of them he gives the preference to the French editions, as the composer oftener saw proofs of them. On the other hand, the German editions, which, he thinks, came out later than the Paris ones, contain subsequently-made changes and improvements. [FOOTNOTE: Take note, however, in connection with this remark, of Chopin's letter of August 30, 1845, on pp. 119-120 of this volume.] Sometimes, no doubt, the Paris edition preceded the German one, but not as a rule. The reader will remember from the letters that Chopin was always anxious that his works should appear simultaneously in all countries, which, of course, was not always practicable. Mikuli based his edition (Leipzig: Fr. Kistner), the preface to which is dated "Lemberg, September, 1879," on his own copies, mostly of Parisian editions, copies which Chopin corrected in the course of his lessons; and on other copies, with numerous corrections from the hand of the master, which were given him by the Countess Delphine Potocka. He had also the assistance of Chopin's pupils the Princess Marcelline Czartoryska and Madame Friederike Streicher (nee Muller), and also of Madame Dubois and Madame Rubio, and of the composer's friend Ferdinand Hiller. Mikuli's edition, like Klindworth's, is fingered, and, as the title-page informs us, "for the most part according to the author's markings." Hermann Scholtz, who edited Chopin's works for Peters, of Leipzig, says in the preface (dated "Dresden, December, 1879") that his critical apparatus consisted of the original French, German, and English editions, various autographs (the Preludes, Op. 28; the Scherzo, Op. 54; the Impromptu, Op. 51; the Nocturnes, Op. 48; the Mazurka, Op. 7, No. 3, and a sketch of the Mazurka, Op. 30, No. 4), and three volumes of Chopin's compositions with corrections, additions, and marks of expression by his own hand, belonging to the master's pupil Madame von Heygendorf (nee von Konneritz). In addition to these advantages he enjoyed the advice of M. Mathias, another pupil of Chopin. The critically-revised edition published (March, 1878— January, 1880) by Breitkopf and Hartel was edited by Woldemar Bargiel, Johannes Brahms, Auguste Franchomme, Franz Liszt (the Preludes), Carl Reinecke, and Ernst Rudorff. The prospectus sets forth that the revision was based on manuscript material (autographs and proofs with the composer's corrections and additions) and the original French and German editions; and that Madame Schumann, M. Franchomme, and friends and pupils of the composer had been helpful with their counsel. Breitkopf and Hartel's edition is the most complete, containing besides all the pianoforte solo and ensemble works published by the composer himself, a greater number of posthumous works (including the songs) than is to be found in any other edition. Klindworth's is a purely pianoforte edition, and excludes the trio, the pieces with violoncello, and the songs. The above enumeration, however, does not exhaust the existing Chopin editions, which, indeed, are almost innumerable, as in the last decade almost every publisher, at least, almost every German publisher, has issued one—among others there are Schuberth's, edited by Alfred Richter, Kahnt's, edited by S. Jadassohn, and Steingraber's, edited by Ed. Mertke. [FOOTNOTE: Among earlier editions I may mention the incomplete OEuvres completes, forming Vols. 21-24 of the Bibliotheque des Pianistes, published by Schonenberger (Paris, 1860).] Voluminous as the material for a critical edition of Chopin's works is, its inconclusiveness, which constantly necessitates appeals to the individual taste and judgment of the editor, precludes the possibility of an edition that will satisfy all in all cases. Chopin's pupils, who reject the editing of their master's works by outsiders, do not accept even the labours of those from among their midst. These reasons have determined me not to criticise, but simply to describe, the most notable editions. In speaking of the disputes about the correctness of the various editions, I cannot help remembering a remark of Mendelssohn's, of which Wenzel told me. "Mendelssohn said on one occasion in his naive manner: 'In Chopin's music one really does not know sometimes whether a thing is right or wrong.'"
CHAPTER XXXI.
CHOPIN'S ARRIVAL IN LONDON.—MUSICAL ASPECT OF THE BRITISH
METROPOLIS IN 1848.—CULTIVATION OF CHOPIN'S MUSIC IN ENGLAND.—
CHOPIN AT EVENING PARTIES, &C. —LETTERS GIVING AN ACCOUNT OF HIS
DOINGS AND FEELINGS.—TWO MATINEES MUSICALES GIVEN BY CHOPIN;
CRITICISMS ON THEM.—ANOTHER LETTER.—KINDNESS SHOWN HIM.—CHOPIN
STARTS FOR SCOTLAND.—A LETTER WRITTEN AT EDINBURGH AND CALDER
HOUSE.—HIS SCOTCH FRIENDS AND ACQUAINTANCES.—HIS STAY AT DR.
LYSCHINSKl'S.—PLAYS AT A CONCERT IN MANCHESTER.—RETURNS TO
SCOTLAND, AND GIVES A MATINEE MUSICALE IN GLASGOW AND IN
EDINBURGH.—MORE LETTERS FROM SCOTLAND.—BACK TO LONDON.—OTHER
LETTERS.—PLAYS AT A "GRAND POLISH BALL AND CONCERT" IN THE
GUILDHALL.—LAST LETTER FROM LONDON, AND JOURNEY AND RETURN TO
PARIS.
CHOPIN arrived in London, according to Mr. A. J. Hipkins, on
April 21, 1848.
[FOOTNOTE: The indebtedness of two writers on Chopin to Mr. Hipkins has already been adverted to in the Preface. But his vivid recollection of Chopin's visit to London in this year, and of the qualities of his playing, has been found of great value also in other published notices dealing with this period. The present writer has to thank Mr. Hipkins, apart from second-hand obligations, for various suggestions, answers to inquiries, and reading the proof-sheets of this chapter.]