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