Mazurkas (Chopin): Difference between revisions

Content deleted Content added

Inline

Latest revision as of 03:13, 10 December 2024

Over the years 1825–1849, Frédéric Chopin wrote at least 59 compositions for piano called Mazurkas. Mazurka refers to one of the traditional Polish dances.

58 have been published
- 45 during Chopin's lifetime, of which 41 have opus numbers (with the remaining four works being two early mazurkas from 1826 and the famous "Notre Temps" and "Émile Gaillard" mazurkas that were published individually in 1841)
- 13 posthumously, of which 8 have posthumous opus numbers (specifically, Opp. 67 & 68)
11 further mazurkas are known whose manuscripts are either in private hands (2) or untraced (at least 9).

The serial numbering of the 58 published mazurkas normally goes only up to 51. The remaining 7 are referred to by their key or catalogue number.

Chopin's composition of these mazurkas signaled new ideas of nationalism.

Origins

Chopin based his mazurkas on the traditional Polish folk dance, also called the mazurka (or "mazur" in Polish). However, while he used the traditional mazurka as his model, he was able to transform his mazurkas into an entirely new genre, one that became known as a "Chopin genre".^[1]

Compositions

Frédéric Chopin: Mazurka, Op. 17, No. 4, for piano

Performed by: Giorgi Latso, piano

Problems playing this file? See media help.

Chopin started composing his mazurkas in 1825, and continued composing them until 1849, the year of his death. The number of mazurkas composed in each year varies, but he was steadily writing them throughout this time period.

Musical style

Since Chopin's mazurkas connect to the already established traditional Polish mazurka, some of the characteristics of the genre remain the same in his interpretation. For example, both the traditional mazurka and Chopin's version contain a great deal of repetition. This can mean repetition of a single measure or small group of measures, repetition of a theme, or even repetition of an entire section.^[2] This repetition makes sense in the traditional dance for the repeat of a certain section of the actual dance; even though Chopin did not compose his mazurkas so they could be danced to,^[3] it is clear Chopin kept the original form in mind. Furthermore, many of the rhythmic patterns of the traditional mazurka also appear in Chopin's compositions so they still convey the idea of a dance, but a more "self-contained, stylized dance piece."^[4] In keeping with this idea, Chopin did try to make his mazurkas more technically interesting by furthering their chromaticism and harmony,^[3] along with using classical techniques, such as counterpoint and fugues.^[5] In fact, Chopin used more classical techniques in his mazurkas than in any of his other genres.^[5] One of these techniques is four part harmony in the manner of a chorale.

Influences

While it is known that Chopin's mazurkas are connected to the traditional dance, throughout the years there has been much scholarly debate as to how exactly they are connected. The main subject of this debate is whether Chopin had an actual direct connection to Polish folk music, or whether he heard Polish national music in urban areas and was inspired by that to compose his mazurkas.

In 1852, three years after Chopin's death, Franz Liszt published a piece about Chopin's mazurkas, saying that Chopin had been directly influenced by Polish national music to compose his mazurkas. Liszt also provided descriptions of specific dance scenes, which were not completely accurate, but were "a way to raise the status of these works [mazurkas]."^[6] While Liszt's claim was inaccurate, the actions of scholars who read his writing proved to be more disastrous. When reading Liszt's work, scholars interpreted the word "national" as "folk," creating the "longest standing myth in Chopin criticism—the myth that Chopin's mazurkas are national works rooted in an authentic Polish-folk music tradition."^[6] In fact, the most likely explanation for Chopin's influence is the national music he was hearing as a young man in urban areas of Poland, such as Warsaw.^[7]

Arrangements

The soprano and composer Pauline Viardot was a close friend of Chopin and his lover George Sand, and she made a number of arrangements of his mazurkas as songs, with his full agreement. He gave Viardot expert advice on these arrangements, as well as on her piano playing and her other vocal compositions. Chopin in turn derived from her some firsthand knowledge about Spanish music.^[8]

Several arrangements were made for piano and cello by Auguste Franchomme, a friend of Chopin who collaborated with him to compose Grand Duo concertant, and was also the dedicatee of his Cello Sonata.

The violinist Fritz Kreisler arranged the Mazurka No. 45 in A minor, Op. 67, for violin and piano.

List of mazurkas

Series number	Key	Composed	Published	Opus No.	Brown	Kobylańska	Chominski	Dedication	Notes
–	G, B♭	1826	1826	–	B. 16	KK IIa/2-3	S 1/2		Revised versions (original versions were published in 1875)
1–4	F♯m, C♯m, E, E♭m	1830	1832	Op. 6	B. 60		C. 51–54	Countess Pauline Plater
5–9	B♭, Am, Fm, A♭, C	1830–31	1832	Op. 7	B. 61		C. 55–59	M. Johns de la Nouvelle-Orléans	Nos. 2 and 4 are revised versions; the original version of No. 4 was published in 1902
10–13	B♭, Em, A♭, Am	1832–33	1834	Op. 17	B. 77		C. 60–63	Mlle. Lina Freppa
14–17	Gm, C, A♭, B♭m	1834–35	1836	Op. 24	B. 89		C. 64–67	Comte de Perthuis
18–21	Cm, Bm, D♭, C♯m	1836–37	1837	Op. 30	B. 105		C. 65–71	Princess Maria Czartoryska de Württemberg
22–25	G♯m, D, C, Bm	1837–38	1838	Op. 33	B. 115		C. 72–75	Countess Roza Mostowska	No. 3 from Four Mazurkas; in ABRSM Piano Exam Pieces Grade 6 (2015 & 2016 syllabus)
27	Em	1838 (28 November)	1840	Op. 41/2	B. 122		C. 77	Étienne Witwicki
26, 28, 29	C♯m, B, A♭	1839 (July)	1840	Op. 41/1, 3, 4	B. 126		C. 76, 78, 79	Étienne Witwicki
50	Am	1840 (summer)	1841	–	B. 134	KK IIb/4	S 2/4		Notre temps; in "Six Morceaux de salon"
51	Am	1840	1841	–	B. 140	KK IIb/5	S 2/5	Émile Gaillard	In "Album de pianistes polonais"
30–32	G, A♭, C♯m	1841–42	1842	Op. 50	B. 145		C. 80–82	Leon Szmitkowski
33–35	B, C, Cm	1843	1844	Op. 56	B. 153		C. 83–85	Catherine Maberly
36–38	Am, A♭, F♯m	1845 (June–July)	1846	Op. 59	B. 157		C. 86–88
39–41	B, Fm, C♯m	1846 (early autumn)	1847	Op. 63	B. 162		C. 89–91	Countess Laura Czosnowska
42, 44	G, C	1835	1855	Op. posth. 67/1, 3	B. 93		C. 92, 94	Anna Mlokosiewicz
45	Am	1846	1855	Op. posth. 67/4	B. 163		C. 95
43	Gm	1849 (summer)	1855	Op. posth. 67/2	B. 167		C. 93
47	Am	1827	1855	Op. posth. 68/2	B. 18		C. 97
46	C	1829	1855	Op. posth. 68/1	B. 38		C. 96
48	F	1829	1855	Op. posth. 68/3	B. 34		C. 98		Quotes the folk tune "Oj, Magdalino"
49	Fm	1849 (summer)	1855	Op. posth. 68/4	B. 168		C. 99		"Chopin's last composition"; first published in an incomplete form 1855
–	C	1833	1870	–	B. 82	KK IVb/3	P 2/3
–	D	1829	1875	–	B. 31	KK IVa/7	P 1/7		Heavily revised 1832 (see B. 71, KK IVb/2; rev. vers. pub. 1880)
–	D	1832	1880	–	B. 71	KK IVb/2	P 1/7		A heavily revised version of B.31, KK IVa/7
–	B♭	1832 (24 June)	1909	–	B. 73	KK IVb/1	P 2/1	Alexandrine Wolowska
–	D	1820 (?)	1910 (20 February)	–	B. 4	KK Anh. Ia/1	A 1/1		"Mazurek"; doubtful
–	A♭	1834 (July)	1930	–	B. 85	KK IVb/4			Found in the album of Maria Szymanowska
–	?	"early"	–	–	–	KK Vf			"Several mazurkas"; lost
–	D	1826 (?)	–	–	–	KK Ve/5			Mentioned in literature; MS unknown
–	G	1829 (22 August)	?	–	–	–			Setting of a poem by Ignac Maciejowski
–	?	1832	–	–		KK Vc/2			Mentioned in a letter from Chopin dated 10 September 1832
–	?	1832 (14 September)	–	–		KK Ve/7			Listed in an auction party, Paris, 1906
–	B♭	1835	–	–		KK Ve/4			MS sold in Paris, 20 June 1977
–	?	1846 (by December)	–	–	–	KK Vc/4			Mentioned in a letter from Chopin
–	A, Dm	?	–	–	–	KK VIIb/7-8			Allegretto and Mazurka; MS sold Paris 21 November 1974
–	B♭m	?	–	–	–	KK Anh. Ib			Doubtful
–	?	?	–	–	–	KK Ve/8			Mentioned in 1878 correspondence between Breitkopf & Hartel and Izabela Barczinska
–	?	?	–	–	–	KK Ve/6		Mme Nicolai	Mentioned in a note from Augener to C.A. Spina 21 May 1884

Notes

^ Michałowski, Kornel and Jim Samson. "Chopin, Fryderyk Franciszek". Grove Music Online, edited by L. Macy (accessed October 31, 2006) (subscription access)
^ Kallberg, Jeffrey. "The Problem of Repeat and Repetition in Chopin's Mazurkas (Cambridge, England: Cambridge University Press, 1988).
^ ^a ^b Samson, Jim, ed., The Cambridge Companion to Chopin (New York: Cambridge University Press, 1992.)
^ Samson, Jim. The Music of Chopin (Boston: Routledge and Kegan Paul, 1985).
^ ^a ^b Rosen, Charles. The Romantic Generation (Cambridge, Massachusetts: Cambridge University Press, 1988).
^ ^a ^b Barbara Milewski, "Chopin's Mazurkas and the Myth of Folk," 19th Century Music 23.2 (1999): 114.
^ Milewski 1999
^ Rachel Harris, The Music Salon of Pauline Viardot Archived 2007-03-07 at the Wayback Machine

Sources

Downes, Stephen (2009). "Mazurka." Grove Music Online. Oxford Music Online. 17 November 2009. [1]
Michałowski, Kornel and Samson, Jim (2009). "Chopin, Fryderyk Franciszek." Grove Music Online. Oxford Music Online. 17 November 2009 (esp. section 6, “Formative Influences”) [2].
Kallberg, Jeffrey (1988). “The problem of repetition and return in Chopin's mazurkas.” Chopin Styles, ed. Jim Samson. Cambridge, England: Cambridge University Press
Kallberg, Jeffrey (1985). "Chopin's Last Style." Journal of the American Musicological Society 38.2: 264–315.
Milewski, Barbara (1999). "Chopin's Mazurkas and the Myth of the Folk." 19th-Century Music 23.2: 113–35.
Rosen, Charles (1995). The Romantic Generation. Cambridge, Massachusetts: Harvard University Press
Winoker, Roselyn M. (1974) “Chopin and the Mazurka.” Diss. Sarah Lawrence College

[1] Michałowski, Kornel and Jim Samson. "Chopin, Fryderyk Franciszek". Grove Music Online, edited by L. Macy (accessed October 31, 2006) (subscription access)

[2] Kallberg, Jeffrey. "The Problem of Repeat and Repetition in Chopin's Mazurkas (Cambridge, England: Cambridge University Press, 1988).

[Camb_Comp-3] Samson, Jim, ed., The Cambridge Companion to Chopin (New York: Cambridge University Press, 1992.)

[4] Samson, Jim. The Music of Chopin (Boston: Routledge and Kegan Paul, 1985).

[Rosen-5] Rosen, Charles. The Romantic Generation (Cambridge, Massachusetts: Cambridge University Press, 1988).

[Milewski_114-6] Barbara Milewski, "Chopin's Mazurkas and the Myth of Folk," 19th Century Music 23.2 (1999): 114.

[7] Milewski 1999

[8] Rachel Harris, The Music Salon of Pauline Viardot Archived 2007-03-07 at the Wayback Machine

[1]

[2]

[3]

[4]

[5]

[6]

[7]

[8]

@@ Line 1: / Line 1: @@
+{{Short description|Series of piano compositions by Frédéric Chopin}}
-Over the years 1825–1849, [[Frédéric Chopin]] wrote at least 59 '''mazurkas''' for piano, based on the [[mazurka|traditional Polish dance]]:
+Over the years 1825–1849, [[Frédéric Chopin]] wrote at least 59 compositions for piano called '''Mazurkas'''. Mazurka refers to one of the [[mazurka|traditional Polish dances]].
 * 58 have been published
-** 45 during Chopin's lifetime, of which 41 have [[opus numbers]]
+** 45 during Chopin's lifetime, of which 41 have [[opus numbers]] (with the remaining four works being two early mazurkas from 1826 and the famous "Notre Temps" and "Émile Gaillard" mazurkas that were published individually in 1841)
-** 13 posthumously, of which 8 have posthumous opus numbers
+** 13 posthumously, of which 8 have posthumous opus numbers (specifically, Opp. 67 & 68)
 * 11 further mazurkas are known whose manuscripts are either in private hands (2) or untraced (at least 9).
 The serial numbering of the 58 published mazurkas normally goes only up to 51.  The remaining 7 are referred to by their [[key (music)|key]] or catalogue number.
-His composition of these mazurkas signaled new ideas of [[nationalism]], and influenced and inspired other composers—mostly Europeans{{who|date=April 2015}} —to support their national music.
+Chopin's composition of these mazurkas signaled new ideas of [[nationalism]].
 ==Origins==
 {{Expand section|date=January 2011}}
-Chopin based his mazurkas on the [[Music of Poland|traditional Polish folk dance]], also called the [[mazurka]] (or "mazur" in Polish). However, while Chopin used the traditional mazurka as his model, he was able to transform his mazurkas into an entirely new genre, one that became known as a "Chopin genre".<ref>Michałowski, Kornel and Jim Samson. "Chopin, Fryderyk Franciszek". ''[[Grove Music Online]]'', edited by L. Macy (accessed October 31, 2006) (subscription access)</ref>
+Chopin based his mazurkas on the [[Music of Poland|traditional Polish folk dance]], also called the [[mazurka]] (or "mazur" in Polish). However, while he used the traditional mazurka as his model, he was able to transform his mazurkas into an entirely new genre, one that became known as a "Chopin genre".<ref>Michałowski, Kornel and Jim Samson. "Chopin, Fryderyk Franciszek". ''[[Grove Music Online]]'', edited by L. Macy (accessed October 31, 2006) (subscription access)</ref>
 ==Compositions==
-{{Listen|filename=Giorgi_Latsabidze_Plays_Mazurka.ogg |title=Frédéric Chopin: Mazurka, Op. 17, No. 4, for piano |description= Performed by: [[Giorgi Latso]], piano|format=[[Ogg]]}}
+{{Listen|filename=Giorgi Latsabidze Plays Mazurka Op. 17, No. 4.oga |title=Frédéric Chopin: Mazurka, Op. 17, No. 4, for piano |description= Performed by: [[Giorgi Latso]], piano|format=[[Ogg]]}}
 Chopin started composing his mazurkas in 1825, and continued composing them until 1849, the year of his death.  The number of mazurkas composed in each year varies, but he was steadily writing them throughout this time period.
 ==Musical style==
-Since Chopin's mazurkas connect to the already established traditional Polish mazurka, some of the characteristics of the genre remain the same in his interpretation.  For example, both the traditional mazurka and Chopin's version contain a great deal of repetition.  This can mean repetition of a single measure or small group of measures, repetition of a [[theme (music)|theme]], or even repetition of an entire section.<ref>Kallberg, Jeffrey. "The Problem of Repeat and Repetition in Chopin's Mazurkas (Cambridge, England: Cambridge University Press, 1988).</ref>  This repetition makes sense in the traditional dance for the repeat of a certain section of the actual dance; even though Chopin did not compose his mazurkas so they could be danced to,<ref name = "Camb Comp">Samson, Jim, ed., ''[[Cambridge Companions to Music|The Cambridge Companion to Chopin]]'' (New York: Cambridge University Press, 1992.)</ref> it is clear Chopin kept the original form in mind.  Furthermore, many of the rhythmic patterns of the traditional mazurka also appear in Chopin's compositions so they still convey the idea of a dance, but a more "self-contained, stylized dance piece."<ref>Samson, Jim. ''The Music of Chopin'' (Boston: Routledge and Kegan Paul, 1985).</ref>  In keeping with this idea, Chopin did try to make his mazurkas more technically interesting by furthering their [[chromaticism]] and harmony,<ref name = "Camb Comp"/> along with using classical techniques, such as [[counterpoint]] and [[fugue]]s.<ref name = "Rosen">[[Charles Rosen|Rosen, Charles]]. ''The Romantic Generation'' (Cambridge, Mass.: Cambridge University Press, 1988).</ref>  In fact, Chopin used more classical techniques in his mazurkas than in any of his other genres.<ref name = "Rosen"/>  One of these techniques is four part harmony in the manner of a [[chorale]].
+Since Chopin's mazurkas connect to the already established traditional Polish mazurka, some of the characteristics of the genre remain the same in his interpretation.  For example, both the traditional mazurka and Chopin's version contain a great deal of repetition.  This can mean repetition of a single measure or small group of measures, repetition of a [[theme (music)|theme]], or even repetition of an entire section.<ref>Kallberg, Jeffrey. "The Problem of Repeat and Repetition in Chopin's Mazurkas (Cambridge, England: Cambridge University Press, 1988).</ref>  This repetition makes sense in the traditional dance for the repeat of a certain section of the actual dance; even though Chopin did not compose his mazurkas so they could be danced to,<ref name = "Camb Comp">Samson, Jim, ed., ''[[Cambridge Companions to Music|The Cambridge Companion to Chopin]]'' (New York: Cambridge University Press, 1992.)</ref> it is clear Chopin kept the original form in mind.  Furthermore, many of the rhythmic patterns of the traditional mazurka also appear in Chopin's compositions so they still convey the idea of a dance, but a more "self-contained, stylized dance piece."<ref>Samson, Jim. ''The Music of Chopin'' (Boston: Routledge and Kegan Paul, 1985).</ref>  In keeping with this idea, Chopin did try to make his mazurkas more technically interesting by furthering their [[chromaticism]] and harmony,<ref name = "Camb Comp"/> along with using classical techniques, such as [[counterpoint]] and [[fugue]]s.<ref name = "Rosen">[[Charles Rosen|Rosen, Charles]]. ''The Romantic Generation'' (Cambridge, Massachusetts: Cambridge University Press, 1988).</ref>  In fact, Chopin used more classical techniques in his mazurkas than in any of his other genres.<ref name = "Rosen"/>  One of these techniques is four part harmony in the manner of a [[chorale]].
 ==Influences==
 While it is known that Chopin's mazurkas are connected to the traditional dance, throughout the years there has been much scholarly debate as to how exactly they are connected.  The main subject of this debate is whether Chopin had an actual direct connection to Polish folk music, or whether he heard Polish national music in urban areas and was inspired by that to compose his mazurkas.
-In 1852, only three years after Chopin's death, [[Franz Liszt]] published a piece about Chopin's mazurkas, saying that Chopin had been directly influenced by Polish national music to compose his mazurkas.  Liszt also provided descriptions of specific dance scenes, which were not completely accurate, but were "a way to raise the status of these works [mazurkas]."<ref name = "Milewski 114">Barbara Milewski, "Chopin's Mazurkas and the Myth of Folk," ''19th Century Music'' 23.2 (1999): 114.</ref>  While Liszt's claim was inaccurate, the actions of scholars who read his writing proved to be more disastrous.  When reading Liszt's work, scholars interpreted the word "national" as "folk," creating the "longest standing myth in Chopin criticism—the myth that Chopin's mazurkas are national works rooted in an authentic Polish-folk music tradition."<ref name = "Milewski 114"/>  In fact, the most likely explanation for Chopin's influence is the national music he was hearing as a young man in urban areas of Poland, such as Warsaw.<ref>Milewski 1999</ref>
+In 1852, three years after Chopin's death, [[Franz Liszt]] published a piece about Chopin's mazurkas, saying that Chopin had been directly influenced by Polish national music to compose his mazurkas.  Liszt also provided descriptions of specific dance scenes, which were not completely accurate, but were "a way to raise the status of these works [mazurkas]."<ref name = "Milewski 114">Barbara Milewski, "Chopin's Mazurkas and the Myth of Folk," ''19th Century Music'' 23.2 (1999): 114.</ref>  While Liszt's claim was inaccurate, the actions of scholars who read his writing proved to be more disastrous.  When reading Liszt's work, scholars interpreted the word "national" as "folk," creating the "longest standing myth in Chopin criticism—the myth that Chopin's mazurkas are national works rooted in an authentic Polish-folk music tradition."<ref name = "Milewski 114"/>  In fact, the most likely explanation for Chopin's influence is the national music he was hearing as a young man in urban areas of Poland, such as Warsaw.<ref>Milewski 1999</ref>
-After scholars created this myth, they furthered it through their own writings in different ways.  Some picked specific mazurkas that they could apply to a point they were trying to make in support of Chopin's direct connection with folk music.  Others simply made generalizations so that their claims of this connection would make sense.  In all cases, since these writers were well-respected and carried weight in the scholarly community, people accepted their suggestions as truth, which allowed the myth to grow.  However, in 1921, [[Béla Bartók]] published an essay in which he said that Chopin "had not known authentic Polish folk music."<ref>Milewski 1999 117.</ref> By the time of his death in 1945, Bartók was a very well known and respected composer, as well as a prominent expert on folk music, so his opinion and his writing carried a great deal of weight. Bartók suggested that Chopin instead had been influenced by national, and not folk music.
 ==Arrangements==
 {{Expand section|date=January 2011}}
-The soprano and composer [[Pauline Viardot]] was a close friend of Chopin and his lover [[George Sand]], and she made a number of arrangements of his mazurkas as songs, with his full agreement.  He gave Viardot expert advice on these arrangements, as well as on her piano playing and her other vocal compositions. Chopin in turn derived from her some firsthand knowledge about [[Spanish music]].<ref>[http://etd.lsu.edu/docs/available/etd-04082005-095548/unrestricted/Harris_dis.pdf Rachel Harris, The Music Salon of Pauline Viardot]</ref>
+The soprano and composer [[Pauline Viardot]] was a close friend of Chopin and his lover [[George Sand]], and she made a number of arrangements of his mazurkas as songs, with his full agreement.  He gave Viardot expert advice on these arrangements, as well as on her piano playing and her other vocal compositions. Chopin in turn derived from her some firsthand knowledge about [[Music of Spain|Spanish music]].<ref>[http://etd.lsu.edu/docs/available/etd-04082005-095548/unrestricted/Harris_dis.pdf Rachel Harris, The Music Salon of Pauline Viardot] {{webarchive|url=https://web.archive.org/web/20070307112626/http://etd.lsu.edu/docs/available/etd-04082005-095548/unrestricted/Harris_dis.pdf |date=2007-03-07 }}</ref>
+Several arrangements were made for piano and cello by [[Auguste Franchomme]], a friend of Chopin who collaborated with him to compose [[Grand Duo concertant (Chopin and Franchomme)|Grand Duo concertant]], and was also the dedicatee of his [[Cello Sonata (Chopin)|Cello Sonata]].
+The violinist [[Fritz Kreisler]] arranged the Mazurka No. 45 in A minor, Op. 67, for violin and piano.
 ==List of mazurkas==
 {| class="wikitable sortable" style="text-align: left"
 |-
-!Series <br>number
+!data-sort-type="number"|Series <br>number
 !Key
 !Composed
@@ Line 62: / Line 65: @@
 | [[Mazurkas, Op. 6 (Chopin)|Op. 6]]
 | B. 60
 |
 | C. 51–54
 | Countess Pauline Plater
@@ Line 120: / Line 123: @@
 | C. 72–75
 | Countess Roza Mostowska
+| No. 3 from Four Mazurkas; in ABRSM Piano Exam Pieces Grade 6 (2015 & 2016 syllabus)
-|
 |-
-| align="center"|26
+| align="center"|27
 | Em
 | 1838 (28 November)
 | 1840
-| [[Mazurkas, Op. 41 (Chopin)|Op. 41/1]]
+| [[Mazurkas, Op. 41 (Chopin)|Op. 41/2]]
 | B. 122
 |
 | C. 77
+| rowspan="2" | Étienne Witwicki
-|
 |
 |-
-| align="center"|27–29
+| align="center"|26, 28, 29
-| Em, A{{music|flat}}, C{{music|sharp}}m
+| C{{music|sharp}}m, B, A{{music|flat}}
 | 1839 (July)
 | 1840
-| [[Mazurkas, Op. 41 (Chopin)|Op. 41/2–4]]
+| [[Mazurkas, Op. 41 (Chopin)|Op. 41/1, 3, 4]]
 | B. 126
 |
-| C. 76, 78–79
+| C. 76, 78, 79
-| Étienne Witwicki
 |
 |-
@@ Line 163: / Line 165: @@
 | KK IIb/5
 | S 2/5
-| Émile Gaillard
+| [[Hôtel Gaillard|Émile Gaillard]]
 | In "Album de pianistes polonais"
 |-
@@ Line 247: / Line 249: @@
 | 1827
 | 1855
-| [[Mazurkas, Op. 68 (Chopin)|Op. posth. 68/2]]
+| {{nowrap|[[Mazurkas, Op. 68 (Chopin)|Op. posth. 68/2]]}}
 | B. 18
 |
@@ Line 253: / Line 255: @@
 |
 |
-|-
-| align="center"|48
-| F
-| 1829
-| 1855
-| [[Mazurkas, Op. 68 (Chopin)|Op. posth. 68/3]]
-| B. 34
-|
-| C. 98
-|
-| Quotes the folk tune "Oj, Magdalino"
 |-
 | align="center"|46
@@ Line 275: / Line 267: @@
 |
 |
+|-
+| align="center"|48
+| F
+| 1829
+| 1855
+| [[Mazurkas, Op. 68 (Chopin)|Op. posth. 68/3]]
+| B. 34
+|
+| C. 98
+|
+| Quotes the folk tune "Oj, Magdalino"
 |-
 | align="center"|49
@@ Line 351: / Line 354: @@
 |
 |
+|Found in the album of [[Maria Szymanowska]]
-|
 |-
 | align="center"| –
@@ Line 406: / Line 409: @@
 |
 |
-| Listed in an auction catalogue, Paris, 1906
+| Listed in an auction party, Paris, 1906
 |-
 | align="center"| –
@@ Line 480: / Line 483: @@
 ==Sources==
-{{Wikipedia books|Frédéric Chopin}}
 {{commons category|Mazurkas by Frédéric Chopin}}
 *Downes, Stephen (2009). "Mazurka." Grove Music Online. Oxford Music Online. 17 November 2009.  [http://www.oxfordmusiconline.com/subscriber/article/grove/music/18193]
@@ Line 487: / Line 489: @@
 *Kallberg, Jeffrey (1985). "Chopin's Last Style." Journal of the American Musicological Society 38.2: 264–315.
 *Milewski, Barbara (1999). "Chopin's Mazurkas and the Myth of the Folk." ''19th-Century Music'' 23.2: 113–35.
-*[[Charles Rosen|Rosen, Charles]] (1995).  The Romantic Generation. Cambridge, Mass.: Harvard University Press
+*[[Charles Rosen|Rosen, Charles]] (1995).  The Romantic Generation. Cambridge, Massachusetts: Harvard University Press
 *Winoker, Roselyn M. (1974)  “Chopin and the Mazurka.”  Diss. Sarah Lawrence College
@@ Line 493: / Line 495: @@
 [[Category:Mazurkas by Frédéric Chopin| ]]
+[[Category:Music with dedications]]