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Updated: September 24, 2025
The mazurkas of Chopin are a literature in themselves, said Lenz, and there is some truth in his saying. They may, indeed, be called a literature in themselves for two reasons first, because of their originality, which makes them things sui generis; and secondly, because of the poetical and musical wealth of their contents.
Worse still, Orlowski served up the themes of his concerto into mazurkas and had the impudence to publish them. Then came the last blow: he was asked by a music seller for his portrait, which he refused, having no desire, he said with a shiver, to see his face on cheese and butter wrappers. Some of the criticisms were glowing, others absurd as criticisms occasionally are.
And the two sported in the distance, under the stairs, on the stairs, and up in the gallery. Old Jolyon begged for Chopin. She played studies, mazurkas, waltzes, till the two children, creeping near, stood at the foot of the piano their dark and golden heads bent forward, listening. Old Jolyon watched. "Let's see you dance, you two!" Shyly, with a false start, they began.
They are poems social poems, poems of private life, in distinction from the polonaises, which are political poems. Although Chopin's mazurkas and polonaises are no less individual than the other compositions of this most subjective of subjective poets, they incorporate, nevertheless, a good deal of the poetry of which the national dances of those names are the expression or vehicle.
It was well for him that neutral Germany did not receive him too warmly at first, and that his genius led him straight to one of the great capitals of the world, where he could freely poetize and grow angry. If the powerful autocrat of the North knew what a dangerous enemy threatens him in Chopin's works in the simple melodies of his mazurkas, he would forbid music.
Lind, who was present at the first, seems to be the most enthusiastic. We were not present at either, and, therefore, have nothing to say on the subject. From an account of the first matinee in the Athenaeum we learn that Chopin played nocturnes, etudes, mazurkas, two waltzes, and the Berceuse, but none of his more developed works, such as sonatas, concertos, scherzos, and ballades.
Op. 17, four Mazurkas, May 4, dedicated to Madame Lina Freppa; op. 24, four Mazurkas, November, 1835, dedicated to Comte de Perthuis; op. 30, four Mazurkas, December, 1837, dedicated to Princesse Czartoryska; op. 33, four Mazurkas, October, 1838, dedicated to Comtesse Mostowska; op. 41, four Mazurkas, December, 1840, dedicated to E. Witwicki; op. 50, three Mazurkas, November, 1841, dedicated to Leon Szmitkowski; op. 56, three Mazurkas, August, 1844, dedicated to Mile.
Chopin published during his lifetime forty-one Mazurkas in eleven cahiers of three, four and five numbers. Op. 6, four Mazurkas, and op. 7, five Mazurkas, were published December, 1832. Op. 6 is dedicated to Comtesse Pauline Plater; op. 7 to Mr. Johns.
The feminine side is chiefly embodied in the mazurkas and the nocturnes.
Polish music is the voice of a light-minded, brave-hearted people who lived in a gay turmoil and drained with eager lips and reckless spirits the cup of glory and of joy. The Polish polkas and mazurkas, with their changing and fugitive rhythmus and their lively, uneven time, admirably embody the light and graceful spirit of this people.
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