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 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,