‘Chopin was a genius of universal appeal. His music conquers the most diverse
audiences. When the first notes of Chopin sound through the concert hall there is a
happy sigh of recognition. All over the world men and women know his music. They
love it. They are moved by it. Yet it is not “Romantic music” in the Byronic sense. It
does not tell stories or paint pictures. It is expressive and personal, but still a pure art.
Even in this abstract atomic age, where emotion is not fashionable, Chopin endures. His
music is the universal language of human communication. When I play Chopin I know I
speak directly to the hearts of people!’
Editions
After Chopin composed a piece he made a fair copy for the use of the engraver. The
engraver’s copy often had changes made to it on the third staff above or below the main
text. Sometimes Chopin abandoned the copy to begin again. Such rejected public
manuscripts are often valuable documents and there is one for Ballade no. 4 in F minor.
Chopin’s music from 1834 onwards was published simultaneously, or approximately so,
in France, Germany and England. This practice, which was common at the time, existed
because copyright laws were weak and ineffective. In most cases the French publisher
was Maurice Schlesinger, the German publisher was Breitkopf & Härtel and the English
publisher was Wessel. Chopin usually gave his engraver’s copy directly to Schlesinger.
Chopin proof-read it himself in his earlier and later years but in the intervening period of
1835-1841 usually relied on others. Occasionally a copy made by his friend Julian
Fontana would be sent instead.
So far as Breitkopf & Härtel were concerned, proof sheets were sent from the French
edition until 1835, after which manuscripts were sent. Until 1842, when Fontana went to
America, copies were often sent. Although Chopin took great care to ensure that a
correct text was sent to Leipzig, he had no further control over the German edition once it
left his hands. This was also true of the English editions. Until 1843, copies and
autographs were variously sent, after which autograph manuscripts were the norm.
It follows that there were numerous textual differences between the three editions.
Chopin, in addition, annotated a number of the first editions, mainly French first editions,
belonging to his pupils. There are several collections of these including the three volume
collection of Ludwika Jedrejewicz (Chopin’s sister), Camille O’Meara Dubois’ three
volume collection and Jane Stirling’s seven volume collection.
Chopin did not like proof reading. He did not correct all the copies or editions and when
he did he often did it in a hurry and overlooked mistakes. Sometimes he handed the
proof reading to Fontana. Where there were several printer’s proofs Chopin did not
always check to see whether they were exactly the same. Even during the process of
engraving he made changes, usually in the French edition.