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