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Updated: July 7, 2025
Hartel; they may be published as arranged by me. In addition to this, I indicated to B. five numbers, arranged in a similar manner as the vocal pieces, only longer, which he is to transfer to the pianoforte as independent and melodious pieces. By that manner the bad impression of the pianoforte scores without words, arranged without my concurrence, and perfectly useless, would be obviated.
Of the three the last in F minor is the strongest, although if Chopin's age is taken into consideration, the first, in D minor, is a feat for a lad of eighteen. I agree with Niecks that the posthumous Polonaise, without opus number, in G sharp minor, was composed later than 1822 the date given in the Breitkopf & Hartel edition.
Two words today in great haste. I am angry with myself for having burdened an overpatient friend like you with this Hartel affair. Pardon me. I am, it is true, for the moment in an awkward position, but you must not mind that. Are you out of temper? But you are composing. The Princess has written to me about it. You must surprise me soon!
Imagine then, dearest Richard, the unspeakable joy which the hours at Zurich and St. Gallen gave me when your beaming glance penetrated my soul and lovingly encompassed it, bringing life and peace. In a few days I shall write to you at greater length about the Hartel affair, which unfortunately remains in a very unsatisfactory stage. At Altenburg things are looking very sad.
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.
I hope I shall be able to visit you in the autumn, after the Jubilee of Grand Duke Carl August. In reference to the Hartel affair I enclose his two letters of March 4th and 5th. At the end of February I had a long conversation about the matter at Leipzig with Dr. Hartel, and tried to persuade him to renew his first proposal to you, because that seemed to me the most advantageous thing for you.
Breitkopf & Hartel do not. Dr. Hugo Riemann, who has edited a few of the Preludes, phrases the first bars thus: Desperate and exasperating to the nerves is the second prelude in A minor. It is an asymmetric tune. Chopin seldom wrote ugly music, but is this not ugly, forlorn, despairing, almost grotesque, and discordant? It indicates the deepest depression in its sluggish, snake-like progression.
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.
They were all bad paintings. There is nothing safely admirable, I find, but the old masters. All those battles of all famous French generals, from Charles Hartel to Napoleon, and the battles in Algiers, by Horace Yernet, are wholly to be snuffed at. In painting, as in theology, age is the criterion of merit. Yet Vernet's paintings, though decried by M. le Directeur, I admired, and told him so.
Hartel to be favourably inclined towards this especially as at the time they undertook the matter less for the sake of gain than of honour the question would only be in what manner they should assign to me my share of the profits. Perhaps they would be very willing to let me have a certain portion of the money accruing from the sale of detached parts of the opera.
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