187:, or even repetition of an entire section. 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, 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." In keeping with this idea, Chopin did try to make his mazurkas more technically interesting by furthering their
220:
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." 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.
128:
242:
78:
223:
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
211:
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
219:
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 ." While
182:
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
228:
published an essay in which he said that Chopin "had not known authentic Polish folk music." By the time of his death in 1945, BartĂłk 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. BartĂłk
280:, 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
224:
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,
173:
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.
146:
2098:
116:(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".
137:
2093:
1875:
Kallberg, Jeffrey (1988). “The problem of repetition and return in Chopin's mazurkas.” Chopin Styles, ed. Jim Samson. Cambridge, England: Cambridge
University Press
145:
42:(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)
199:. In fact, Chopin used more classical techniques in his mazurkas than in any of his other genres. One of these techniques is four part harmony in the manner of a
1839:
292:
2119:
1919:
1743:
Kallberg, Jeffrey. "The
Problem of Repeat and Repetition in Chopin's Mazurkas (Cambridge, England: Cambridge University Press, 1988).
2029:
2124:
2087:
2008:
1912:
1757:
54:
The serial numbering of the 58 published mazurkas normally goes only up to 51. The remaining 7 are referred to by their
1836:
2057:
2050:
2036:
2003:
1998:
1993:
1988:
1983:
1978:
1973:
1968:
1963:
1958:
1953:
1154:
1122:
1091:
1059:
1027:
996:
964:
932:
895:
851:
819:
710:
667:
634:
594:
550:
506:
2071:
2064:
2043:
2022:
1948:
1943:
1905:
461:
417:
1878:
Kallberg, Jeffrey (1985). "Chopin's Last Style." Journal of the
American Musicological Society 38.2: 264–315.
2078:
50:
11 further mazurkas are known whose manuscripts are either in private hands (2) or untraced (at least 9).
1870:
1859:
296:
1932:
20:
1865:
1730:
607:
288:
1858:
Downes, Stephen (2009). "Mazurka." Grove Music Online. Oxford Music Online. 17 November 2009.
1364:
785:
225:
1706:
1843:
273:
109:
45:
13 posthumously, of which 8 have posthumous opus numbers (specifically, Opp. 67 & 68)
650:
No. 3 from Four
Mazurkas; in ABRSM Piano Exam Pieces Grade 6 (2015 & 2016 syllabus)
1674:
Mentioned in 1878 correspondence between
Breitkopf & Hartel and Izabela Barczinska
477:
Nos. 2 and 4 are revised versions; the original version of No. 4 was published in 1902
303:
281:
212:
Polish national music in urban areas and was inspired by that to compose his mazurkas.
241:
77:
2113:
1888:
1786:
184:
1891:(1995). The Romantic Generation. Cambridge, Massachusetts: Harvard University Press
1894:
Winoker, Roselyn M. (1974) “Chopin and the
Mazurka.” Diss. Sarah Lawrence College
229:
suggested that Chopin instead had been influenced by national, and not folk music.
192:
188:
153:
39:
1869:. Oxford Music Online. 17 November 2009 (esp. section 6, “Formative Influences”)
144:
277:
216:
62:
55:
1897:
165:
1863:
Michałowski, Kornel and Samson, Jim (2009). "Chopin, Fryderyk
Franciszek."
1881:
Milewski, Barbara (1999). "Chopin's
Mazurkas and the Myth of the Folk."
1169:"Chopin's last composition"; first published in an incomplete form 1855
306:
arranged the
Mazurka No. 45 in A-minor, opus 67, for violin and piano.
200:
113:
28:
1734:, edited by L. Macy (accessed October 31, 2006) (subscription access)
1728:
Michałowski, Kornel and Jim Samson. "Chopin, Fryderyk
Franciszek".
196:
1230:
Heavily revised 1832 (see B. 71, KK IVb/2; rev. vers. pub. 1880)
1901:
236:
72:
1793:(Cambridge, Massachusetts: Cambridge University Press, 1988).
61:
Chopin's composition of these mazurkas signaled new ideas of
1805:
Barbara Milewski, "Chopin's Mazurkas and the Myth of Folk,"
382:
Revised versions (original versions were published in 1875)
191:
and harmony, along with using classical techniques, such as
126:
183:
single measure or small group of measures, repetition of a
1485:
Mentioned in a letter from Chopin dated 10 September 1832
291:, a friend of Chopin who collaborated with him to compose
1608:
Allegretto and Mazurka; MS sold Paris 21 November 1974
253:
89:
287:
Several arrangements were made for piano and cello by
138:Frédéric Chopin: Mazurka, Op. 17, No. 4, for piano
1837:Rachel Harris, The Music Salon of Pauline Viardot
23:wrote at least 59 compositions for piano called
16:Series of piano compositions by Frédéric Chopin
1801:
1799:
38:45 during Chopin's lifetime, of which 41 have
1913:
1761:(New York: Cambridge University Press, 1992.)
8:
1261:A heavily revised version of B.31, KK IVa/7
1751:
1749:
276:was a close friend of Chopin and his lover
215:In 1852, three years after Chopin's death,
1920:
1906:
1898:
313:
1774:(Boston: Routledge and Kegan Paul, 1985).
608:Princess Maria Czartoryska de WĂĽrttemberg
2009:Posthumous mazurkas without opus numbers
1514:Listed in an auction party, Paris, 1906
1782:
1780:
1721:
1456:Setting of a poem by Ignac Maciejowski
163:
1137:Quotes the folk tune "Oj, Magdalino"
7:
1426:Mentioned in literature; MS unknown
295:, and was also the dedicatee of his
2099:List of compositions by opus number
1578:Mentioned in a letter from Chopin
14:
1758:The Cambridge Companion to Chopin
790:In "Album de pianistes polonais"
108:Chopin based his mazurkas on the
474:M. Johns de la Nouvelle-Orléans
240:
164:Problems playing this file? See
142:
76:
1548:MS sold in Paris, 20 June 1977
27:. Mazurka refers to one of the
1:
2094:List of compositions by genre
756:; in "Six Morceaux de salon"
110:traditional Polish folk dance
1678:
1648:
1612:
1582:
1552:
1518:
1489:
1460:
1430:
1400:
1370:
1332:
1301:
1265:
1234:
1203:
1173:
1141:
1109:
1078:
1045:
1014:
983:
951:
913:
870:
838:
794:
760:
726:
686:
654:
615:
569:
525:
481:
436:
386:
350:
2120:Mazurkas by Frédéric Chopin
2141:
1709:to C.A. Spina 21 May 1884
945:Countess Laura Czosnowska
19:Over the years 1825–1849,
2017:
1939:
1705:Mentioned in a note from
1396:"Several mazurkas"; lost
679:
272:The soprano and composer
29:traditional Polish dances
647:Countess Roza Mostowska
430:Countess Pauline Plater
1791:The Romantic Generation
35:58 have been published
2125:Music with dedications
1363:Found in the album of
131:
1295:Alexandrine Wolowska
130:
58:or catalogue number.
1496:1832 (14 September)
1328:"Mazurek"; doubtful
926:1846 (early autumn)
293:Grand Duo concertant
1772:The Music of Chopin
1559:1846 (by December)
1311:1910 (20 February)
661:1838 (28 November)
2004:4 Mazurkas, Op. 68
1999:4 Mazurkas, Op. 67
1994:3 Mazurkas, Op. 63
1989:3 Mazurkas, Op. 59
1984:3 Mazurkas, Op. 56
1979:3 Mazurkas, Op. 50
1974:4 Mazurkas, Op. 41
1969:4 Mazurkas, Op. 33
1964:4 Mazurkas, Op. 30
1959:4 Mazurkas, Op. 24
1954:4 Mazurkas, Op. 17
1883:19th-Century Music
1866:Grove Music Online
1842:2007-03-07 at the
1827:Milewski 1999 117.
1807:19th Century Music
1755:Samson, Jim, ed.,
1731:Grove Music Online
977:Anna Mlokosiewicz
965:Op. posth. 67/1, 3
864:Catherine Maberly
563:Comte de Perthuis
519:Mlle. Lina Freppa
289:Auguste Franchomme
252:. You can help by
132:
112:, also called the
88:. You can help by
2107:
2106:
1949:5 Mazurkas, Op. 7
1944:4 Mazurkas, Op. 6
1809:23.2 (1999): 114.
1713:
1712:
1437:1829 (22 August)
1365:Maria Szymanowska
889:1845 (June–July)
832:Leon Szmitkowski
680:Étienne Witwicki
270:
269:
147:
106:
105:
2132:
1922:
1915:
1908:
1899:
1846:
1834:
1828:
1825:
1819:
1816:
1810:
1803:
1794:
1784:
1775:
1768:
1762:
1753:
1744:
1741:
1735:
1726:
1621:
1620:
1527:
1526:
1341:
1340:
1274:
1273:
1062:
922:
921:
885:
884:
879:
878:
809:
808:
803:
802:
701:
700:
695:
694:
624:
623:
584:
583:
578:
577:
540:
539:
534:
533:
496:
495:
490:
489:
451:
450:
445:
444:
407:
406:
401:
400:
395:
394:
359:
358:
314:
310:List of mazurkas
265:
262:
244:
237:
149:
148:
129:
101:
98:
80:
73:
2140:
2139:
2135:
2134:
2133:
2131:
2130:
2129:
2110:
2109:
2108:
2103:
2088:Frédéric Chopin
2013:
1935:
1933:Frédéric Chopin
1926:
1855:
1850:
1849:
1844:Wayback Machine
1835:
1831:
1826:
1822:
1817:
1813:
1804:
1797:
1785:
1778:
1769:
1765:
1754:
1747:
1742:
1738:
1727:
1723:
1718:
1618:
1617:
1524:
1523:
1338:
1337:
1277:1832 (24 June)
1271:
1270:
1155:Op. posth. 68/4
1123:Op. posth. 68/3
1092:Op. posth. 68/1
1060:Op. posth. 68/2
1058:
1028:Op. posth. 67/2
997:Op. posth. 67/4
919:
918:
882:
881:
876:
875:
806:
805:
800:
799:
698:
697:
692:
691:
621:
620:
581:
580:
575:
574:
537:
536:
531:
530:
493:
492:
487:
486:
448:
447:
442:
441:
404:
403:
398:
397:
392:
391:
356:
355:
318:
312:
274:Pauline Viardot
266:
260:
257:
250:needs expansion
235:
209:
180:
171:
170:
162:
160:
159:
158:
157:
150:
143:
140:
133:
127:
122:
102:
96:
93:
86:needs expansion
71:
21:Frédéric Chopin
17:
12:
11:
5:
2138:
2136:
2128:
2127:
2122:
2112:
2111:
2105:
2104:
2102:
2101:
2096:
2091:
2083:
2082:
2075:
2068:
2061:
2054:
2047:
2040:
2033:
2026:
2018:
2015:
2014:
2012:
2011:
2006:
2001:
1996:
1991:
1986:
1981:
1976:
1971:
1966:
1961:
1956:
1951:
1946:
1940:
1937:
1936:
1927:
1925:
1924:
1917:
1910:
1902:
1896:
1895:
1892:
1889:Rosen, Charles
1886:
1879:
1876:
1873:
1861:
1854:
1851:
1848:
1847:
1829:
1820:
1811:
1795:
1787:Rosen, Charles
1776:
1763:
1745:
1736:
1720:
1719:
1717:
1714:
1711:
1710:
1703:
1700:
1698:
1695:
1692:
1689:
1686:
1683:
1680:
1676:
1675:
1672:
1670:
1668:
1665:
1662:
1659:
1656:
1653:
1650:
1646:
1645:
1642:
1640:
1638:
1635:
1632:
1629:
1626:
1623:
1614:
1610:
1609:
1606:
1604:
1602:
1599:
1596:
1593:
1590:
1587:
1584:
1580:
1579:
1576:
1574:
1572:
1569:
1566:
1563:
1560:
1557:
1554:
1550:
1549:
1546:
1544:
1542:
1539:
1537:
1534:
1531:
1528:
1520:
1516:
1515:
1512:
1510:
1508:
1505:
1503:
1500:
1497:
1494:
1491:
1487:
1486:
1483:
1481:
1479:
1476:
1474:
1471:
1468:
1465:
1462:
1458:
1457:
1454:
1452:
1450:
1447:
1444:
1441:
1438:
1435:
1432:
1428:
1427:
1424:
1422:
1420:
1417:
1414:
1411:
1408:
1405:
1402:
1398:
1397:
1394:
1392:
1390:
1387:
1384:
1381:
1378:
1375:
1372:
1368:
1367:
1361:
1359:
1357:
1354:
1351:
1348:
1345:
1342:
1334:
1330:
1329:
1326:
1324:
1321:
1318:
1315:
1312:
1309:
1306:
1303:
1299:
1298:
1296:
1293:
1290:
1287:
1284:
1281:
1278:
1275:
1267:
1263:
1262:
1259:
1257:
1254:
1251:
1248:
1245:
1242:
1239:
1236:
1232:
1231:
1228:
1226:
1223:
1220:
1217:
1214:
1211:
1208:
1205:
1201:
1200:
1198:
1196:
1193:
1190:
1187:
1184:
1181:
1178:
1175:
1171:
1170:
1167:
1165:
1162:
1160:
1157:
1152:
1149:
1148:1849 (summer)
1146:
1143:
1139:
1138:
1135:
1133:
1130:
1128:
1125:
1120:
1117:
1114:
1111:
1107:
1106:
1104:
1102:
1099:
1097:
1094:
1089:
1086:
1083:
1080:
1076:
1075:
1073:
1071:
1068:
1066:
1063:
1056:
1053:
1050:
1047:
1043:
1042:
1040:
1038:
1035:
1033:
1030:
1025:
1022:
1021:1849 (summer)
1019:
1016:
1012:
1011:
1009:
1007:
1004:
1002:
999:
994:
991:
988:
985:
981:
980:
978:
975:
972:
970:
967:
962:
959:
956:
953:
949:
948:
946:
943:
940:
938:
935:
930:
927:
924:
915:
911:
910:
908:
906:
903:
901:
898:
893:
890:
887:
872:
868:
867:
865:
862:
859:
857:
854:
849:
846:
843:
840:
836:
835:
833:
830:
827:
825:
822:
817:
814:
811:
796:
792:
791:
788:
786:Émile Gaillard
783:
780:
777:
774:
771:
768:
765:
762:
758:
757:
751:
749:
746:
743:
740:
737:
734:
733:1840 (summer)
731:
728:
724:
723:
721:
720:C. 76, 78, 79
718:
716:
713:
711:Op. 41/1, 3, 4
708:
705:
702:
688:
684:
683:
681:
678:
675:
673:
670:
665:
662:
659:
656:
652:
651:
648:
645:
642:
640:
637:
632:
629:
626:
617:
613:
612:
610:
605:
602:
600:
597:
592:
589:
586:
571:
567:
566:
564:
561:
558:
556:
553:
548:
545:
542:
527:
523:
522:
520:
517:
514:
512:
509:
504:
501:
498:
483:
479:
478:
475:
472:
469:
467:
464:
459:
456:
453:
438:
434:
433:
431:
428:
425:
423:
420:
415:
412:
409:
388:
384:
383:
380:
378:
375:
372:
369:
366:
363:
360:
352:
348:
347:
344:
341:
338:
335:
332:
329:
326:
323:
320:
311:
308:
304:Fritz Kreisler
302:The violinist
268:
267:
247:
245:
234:
231:
208:
205:
179:
176:
161:
152:Performed by:
151:
141:
136:
135:
134:
125:
124:
123:
121:
118:
104:
103:
83:
81:
70:
67:
52:
51:
48:
47:
46:
43:
15:
13:
10:
9:
6:
4:
3:
2:
2137:
2126:
2123:
2121:
2118:
2117:
2115:
2100:
2097:
2095:
2092:
2089:
2085:
2084:
2080:
2076:
2073:
2069:
2066:
2062:
2059:
2055:
2052:
2048:
2045:
2041:
2038:
2034:
2031:
2027:
2024:
2020:
2019:
2016:
2010:
2007:
2005:
2002:
2000:
1997:
1995:
1992:
1990:
1987:
1985:
1982:
1980:
1977:
1975:
1972:
1970:
1967:
1965:
1962:
1960:
1957:
1955:
1952:
1950:
1947:
1945:
1942:
1941:
1938:
1934:
1930:
1923:
1918:
1916:
1911:
1909:
1904:
1903:
1900:
1893:
1890:
1887:
1885:23.2: 113–35.
1884:
1880:
1877:
1874:
1871:
1868:
1867:
1862:
1860:
1857:
1856:
1852:
1845:
1841:
1838:
1833:
1830:
1824:
1821:
1818:Milewski 1999
1815:
1812:
1808:
1802:
1800:
1796:
1792:
1788:
1783:
1781:
1777:
1773:
1770:Samson, Jim.
1767:
1764:
1760:
1759:
1752:
1750:
1746:
1740:
1737:
1733:
1732:
1725:
1722:
1715:
1708:
1704:
1701:
1699:
1696:
1693:
1690:
1687:
1684:
1681:
1677:
1673:
1671:
1669:
1666:
1663:
1660:
1657:
1654:
1651:
1647:
1643:
1641:
1639:
1636:
1633:
1630:
1627:
1624:
1615:
1611:
1607:
1605:
1603:
1600:
1597:
1594:
1591:
1588:
1585:
1581:
1577:
1575:
1573:
1570:
1567:
1564:
1561:
1558:
1555:
1551:
1547:
1545:
1543:
1540:
1538:
1535:
1532:
1529:
1521:
1517:
1513:
1511:
1509:
1506:
1504:
1501:
1498:
1495:
1492:
1488:
1484:
1482:
1480:
1477:
1475:
1472:
1469:
1466:
1463:
1459:
1455:
1453:
1451:
1448:
1445:
1442:
1439:
1436:
1433:
1429:
1425:
1423:
1421:
1418:
1415:
1412:
1409:
1406:
1403:
1399:
1395:
1393:
1391:
1388:
1385:
1382:
1379:
1376:
1373:
1369:
1366:
1362:
1360:
1358:
1355:
1352:
1349:
1346:
1343:
1335:
1331:
1327:
1325:
1322:
1320:KK Anh. Ia/1
1319:
1316:
1313:
1310:
1307:
1304:
1300:
1297:
1294:
1291:
1288:
1285:
1282:
1279:
1276:
1268:
1264:
1260:
1258:
1255:
1252:
1249:
1246:
1243:
1240:
1237:
1233:
1229:
1227:
1224:
1221:
1218:
1215:
1212:
1209:
1206:
1202:
1199:
1197:
1194:
1191:
1188:
1185:
1182:
1179:
1176:
1172:
1168:
1166:
1163:
1161:
1158:
1156:
1153:
1150:
1147:
1144:
1140:
1136:
1134:
1131:
1129:
1126:
1124:
1121:
1118:
1115:
1112:
1108:
1105:
1103:
1100:
1098:
1095:
1093:
1090:
1087:
1084:
1081:
1077:
1074:
1072:
1069:
1067:
1064:
1061:
1057:
1054:
1051:
1048:
1044:
1041:
1039:
1036:
1034:
1031:
1029:
1026:
1023:
1020:
1017:
1013:
1010:
1008:
1005:
1003:
1000:
998:
995:
992:
989:
986:
982:
979:
976:
973:
971:
968:
966:
963:
960:
957:
954:
950:
947:
944:
941:
939:
936:
934:
931:
928:
925:
916:
912:
909:
907:
904:
902:
899:
897:
894:
891:
888:
873:
869:
866:
863:
860:
858:
855:
853:
850:
847:
844:
841:
837:
834:
831:
828:
826:
823:
821:
818:
815:
812:
797:
793:
789:
787:
784:
781:
778:
775:
772:
769:
766:
763:
759:
755:
752:
750:
747:
744:
741:
738:
735:
732:
729:
725:
722:
719:
717:
714:
712:
709:
706:
703:
689:
685:
682:
676:
674:
671:
669:
666:
663:
660:
657:
653:
649:
646:
643:
641:
638:
636:
633:
630:
627:
618:
614:
611:
609:
606:
603:
601:
598:
596:
593:
590:
587:
572:
568:
565:
562:
559:
557:
554:
552:
549:
546:
543:
528:
524:
521:
518:
515:
513:
510:
508:
505:
502:
499:
484:
480:
476:
473:
470:
468:
465:
463:
460:
457:
454:
439:
435:
432:
429:
426:
424:
421:
419:
416:
413:
410:
389:
385:
381:
379:
376:
373:
370:
367:
364:
361:
353:
349:
345:
342:
339:
336:
333:
330:
327:
324:
321:
316:
315:
309:
307:
305:
300:
298:
294:
290:
285:
283:
282:Spanish music
279:
275:
264:
255:
251:
248:This section
246:
243:
239:
238:
232:
230:
227:
221:
218:
213:
206:
204:
202:
198:
194:
190:
186:
178:Musical style
177:
175:
169:
167:
155:
139:
119:
117:
115:
111:
100:
91:
87:
84:This section
82:
79:
75:
74:
68:
66:
64:
59:
57:
49:
44:
41:
37:
36:
34:
33:
32:
30:
26:
22:
2090:}}
2086:{{
2081:}}
2077:{{
2074:}}
2070:{{
2067:}}
2063:{{
2060:}}
2056:{{
2053:}}
2049:{{
2046:}}
2042:{{
2039:}}
2035:{{
2032:}}
2028:{{
2025:}}
2021:{{
1928:
1882:
1864:
1832:
1823:
1814:
1806:
1790:
1771:
1766:
1756:
1739:
1729:
1724:
1702:Mme Nicolai
1601:KK VIIb/7-8
1344:1834 (July)
753:
704:1839 (July)
625:m, D, C, Bm
301:
297:Cello Sonata
286:
271:
261:January 2011
258:
254:adding to it
249:
233:Arrangements
222:
214:
210:
193:counterpoint
189:chromaticism
181:
172:
154:Giorgi Latso
120:Compositions
107:
97:January 2011
94:
90:adding to it
85:
60:
53:
40:opus numbers
24:
18:
2030:Concertante
1637:KK Anh. Ib
754:Notre temps
687:26, 28, 29
446:, Am, Fm, A
374:KK IIa/2-3
343:Dedication
337:Kobylańska
278:George Sand
226:BĂ©la BartĂłk
217:Franz Liszt
63:nationalism
2114:Categories
2058:Polonaises
974:C. 92, 94
340:Chominski
328:Published
207:Influences
166:media help
2051:Nocturnes
1644:Doubtful
1407:1826 (?)
1356:KK IVb/4
1308:1820 (?)
1289:KK IVb/1
1253:KK IVb/2
1222:KK IVa/7
1192:KK IVb/3
942:C. 89–91
905:C. 86–88
861:C. 83–85
842:B, C, Cm
829:C. 80–82
779:KK IIb/5
745:KK IIb/4
644:C. 72–75
604:C. 65–71
573:Cm, Bm, D
560:C. 64–67
516:C. 60–63
471:C. 55–59
427:C. 51–54
331:Opus No.
325:Composed
2072:Scherzos
2065:Preludes
2044:Mazurkas
2023:Ballades
1929:Mazurkas
1840:Archived
1697:KK Ve/6
1667:KK Ve/8
1619:♭
1571:KK Vc/4
1541:KK Ve/4
1525:♭
1507:KK Ve/7
1478:KK Vc/2
1419:KK Ve/5
1377:"early"
1339:♭
1272:♭
920:♯
917:B, Fm, C
883:♯
877:♭
813:1841–42
807:♯
801:♭
699:♭
693:♯
668:Op. 41/2
628:1837–38
622:♯
588:1836–37
582:♯
576:♭
544:1834–35
538:♭
532:♭
529:Gm, C, A
500:1832–33
494:♭
488:♭
455:1830–31
449:♭
443:♭
405:♭
399:♯
393:♯
357:♭
25:Mazurkas
2079:Waltzes
1853:Sources
1707:Augener
1159:B. 168
1032:B. 167
1001:B. 163
952:42, 44
937:B. 162
900:B. 157
856:B. 153
824:B. 145
776:B. 140
742:B. 134
715:B. 126
696:m, B, A
672:B. 122
639:B. 115
599:B. 105
491:, Em, A
402:m, E, E
319:number
317:Series
201:chorale
156:, piano
114:mazurka
69:Origins
2037:Études
1586:A, Dm
1389:KK Vf
1353:B. 85
1323:A 1/1
1292:P 2/1
1286:B. 73
1256:P 1/7
1250:B. 71
1225:P 1/7
1219:B. 31
1195:P 2/3
1189:B. 82
1164:C. 99
1132:C. 98
1127:B. 34
1101:C. 96
1096:B. 38
1070:C. 97
1065:B. 18
1037:C. 93
1006:C. 95
969:B. 93
933:Op. 63
914:39–41
896:Op. 59
871:36–38
852:Op. 56
839:33–35
820:Op. 50
795:30–32
782:S 2/5
748:S 2/4
677:C. 77
635:Op. 33
616:22–25
595:Op. 30
570:18–21
555:B. 89
551:Op. 24
526:14–17
511:B. 77
507:Op. 17
482:10–13
466:B. 61
422:B. 60
377:S 1/2
371:B. 16
346:Notes
334:Brown
197:fugues
1716:Notes
1530:1835
1467:1832
1347:1930
1317:B. 4
1280:1909
1244:1880
1241:1832
1213:1875
1210:1829
1183:1870
1180:1833
1151:1855
1119:1855
1116:1829
1088:1855
1085:1829
1055:1855
1052:1827
1024:1855
993:1855
990:1846
961:1855
958:1835
955:G, C
929:1847
892:1846
874:Am, A
848:1844
845:1843
816:1842
770:1841
767:1840
736:1841
707:1840
664:1840
631:1838
591:1837
547:1836
503:1834
497:, Am
462:Op. 7
458:1832
418:Op. 6
414:1832
411:1830
365:1826
362:1826
185:theme
798:G, A
452:, C
437:5–9
396:m, C
387:1–4
354:G, B
322:Key
195:and
1931:by
1145:Fm
1142:49
1110:48
1079:46
1049:Am
1046:47
1018:Gm
1015:43
987:Am
984:45
880:, F
804:, C
764:Am
761:51
730:Am
727:50
658:Em
655:27
579:, C
535:, B
256:.
92:.
56:key
2116::
1798:^
1789:.
1779:^
1748:^
1694:–
1691:–
1688:–
1685:?
1682:?
1679:–
1664:–
1661:–
1658:–
1655:?
1652:?
1649:–
1634:–
1631:–
1628:–
1625:?
1622:m
1613:–
1598:–
1595:–
1592:–
1589:?
1583:–
1568:–
1565:–
1562:–
1556:?
1553:–
1536:–
1533:–
1519:–
1502:–
1499:–
1493:?
1490:–
1473:–
1470:–
1464:?
1461:–
1449:–
1446:–
1443:–
1440:?
1434:G
1431:–
1416:–
1413:–
1410:–
1404:D
1401:–
1386:–
1383:–
1380:–
1374:?
1371:–
1350:–
1333:–
1314:–
1305:D
1302:–
1283:–
1266:–
1247:–
1238:D
1235:–
1216:–
1207:D
1204:–
1186:–
1177:C
1174:–
1113:F
1082:C
923:m
886:m
810:m
773:–
739:–
585:m
541:m
408:m
368:–
351:–
299:.
284:.
203:.
65:.
31:.
1921:e
1914:t
1907:v
1872:.
1616:B
1522:B
1336:A
1269:B
690:C
619:G
485:B
440:B
390:F
263:)
259:(
168:.
99:)
95:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
