Chopin, Frédéric. (1810–1849). Quatre mazurkas pour le Piano Forte dédiées à Madame Lina Freppa. Op. 17. Paris: Maurice Schlesinger. [ca. 1834]. Upright folio. 11 pp. Engraved. [PN] M.S. 1704. Price: "6 f." Brandus handstamp to lower right corner of title. In original pale yellow wrappers, spine stained from old tape and approx 1/2 split down wrappers spine, internally clean and in fine condition throughout. First French edition, later issue (the first issue was published by Pleyel) after Schlesinger acquired a portion of Pleyel's business, including editions and plates, in 1834. Ref: Grabowski-Rink 17-1a-Sm; Chomiński-Turło p. 115; Hoboken 4, 249.
Between the years 1825 and 1849, Chopin composed at least 69 mazurkas, based on the traditional Polish dance. Using the traditional mazurka as his model, Chopin was able to transform his mazurkas into an entirely new genre, one that became known as a "Chopin genre". His composition of these mazurkas signaled new ideas of nationalism, and influenced and inspired other composers—mostly eastern Europeans—to support their national music.
Chopin, Frédéric. (1810–1849). Quatre mazurkas pour le Piano Forte dédiées à Madame Lina Freppa. Op. 17. Paris: Maurice Schlesinger. [ca. 1834]. Upright folio. 11 pp. Engraved. [PN] M.S. 1704. Price: "6 f." Brandus handstamp to lower right corner of title. In original pale yellow wrappers, spine stained from old tape and approx 1/2 split down wrappers spine, internally clean and in fine condition throughout. First French edition, later issue (the first issue was published by Pleyel) after Schlesinger acquired a portion of Pleyel's business, including editions and plates, in 1834. Ref: Grabowski-Rink 17-1a-Sm; Chomiński-Turło p. 115; Hoboken 4, 249.
Between the years 1825 and 1849, Chopin composed at least 69 mazurkas, based on the traditional Polish dance. Using the traditional mazurka as his model, Chopin was able to transform his mazurkas into an entirely new genre, one that became known as a "Chopin genre". His composition of these mazurkas signaled new ideas of nationalism, and influenced and inspired other composers—mostly eastern Europeans—to support their national music.