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Updated: May 8, 2025
Of the four early Mazurkas, in G major and B flat major dating from 1825 D major composed in 1829-30, but remodelled in 1832 and C major of 1833 the latter is the most characteristic. The G major is of slight worth. As Niecks remarks, it contains a harmonic error. The one in B flat starts out with a phrase that recalls the A minor Mazurka, numbered 45 in the Breitkopf & Hartel edition.
The three most valued treasures which adorned my house were a concert grand piano by Breitkopf and Hartel, which I had bought with much pride; a stately writing- desk, now in possession of Otto Kummer, the chamber-music artist; and the title-page by Cornelius for the Nibelungen, in a handsome Gothic frame the only object which has remained faithful to me to the present day.
One thing more: in my last letters I entirely forgot to mention the Hartel affair to you. By a certain impulse, I applied to Breitkopf and Hartel about "Lohengrin". I owed them from of old two hundred thalers for a grand pianoforte, and proposed to them to wipe out this debt and to take the copyright of "Lohengrin" in return.
At a music Convention, held that year in Zurich, in July, MacDowell played his First Piano Suite, and won a good success. The following year, upon Liszt's recommendation, both the First and Second Modern Suites were brought out by Breitkopf and Haertel.
According to Breitkopf & Hartel the bass octaves are E both times. Mikuli gives G sharp the first time instead of E; Klindworth, G sharp the second time; Riemann, E, and also Kullak. The G sharp seems more various. In the thirteenth prelude, F sharp major, here is lovely atmosphere, pure and peaceful. The composer has found mental rest.
The same year was marked by the completion of the second concerto in D-minor, begun at Frankfort in the previous winter, and the publication by Breitkopf and Härtel of the full score of "Hamlet and Ophelia," with a dedication to Henry Irving and Ellen Terry, from whose performances in London MacDowell had caught the suggestion for the music.
He pointed at the heights. "Once," said he, "I was consulted by a sausage-king named Breitkopf, who wanted to sink an elevator-shaft from the top to the bottom of this very cliff, so he could reach his hundred-thousand-dollar launch in ease. Breitkopf didn't like my price; he insulted me in several rather unpleasant ways. The cliff is still here, I see. So am I. But Breitkopf is elsewhere."
That musician was Beethoven, to whom Rochlitz bore a commission for music to "Faust" from Breitkopf and Hartel in 1822. The Titan read the proposition and cried out: "Ha! that would be a piece of work! Something might come of that!" but declined the task because he had the choral symphony and other large plans on his mind.
But as this letter was, a few months later, followed by a similar one addressed to the publisher Wigand, who subsequently printed the essays, it is to be inferred that Breitkopf & Härtel, though assured of the future of Schumann's compositions, doubted the financial value of his musical essays an attitude pardonable at a time when there was still a ludicrous popular prejudice against literary utterances by a musician.
Karasowski gives the date of the first complete edition of the Chopin works as 1846, with Gebethner & Wolff, Warsaw, as publishers. Then, according to Niecks, followed Tellefsen, Klindworth Bote & Bock Scholtz Peters Breitkopf & Hartel, Mikuli, Schuberth, Kahnt, Steingraber better known as Mertke's and Schlesinger, edited by the great pedagogue Theodor Kullak.
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