for pianoforte in C sharp minor, Op. 41, 1 (Br. 126,
KK. 626-645)
composed in 1839/7, published in 1840
�You know that I
have four new mazurkas: one, in E minor, from Palma, three
written here, in B major, Ab major, and C# minor; they seem
nice to me, as the youngest children always do to parents
growing old.� - From a letter by F. Chopin to Julian Fontana
in Paris Nohant 8 Aug 1839
Mazurka op. 41, 2
for pianoforte in E minor, Op. 41, 2 (Br. 122,
KK. 626-645)
composed in 1838/11/28, published in 1840
Mazurka op. 41, 3
for pianoforte in B Major, Op. 41, 3 (Br. 126,
KK. 626-645)
composed in 1839/7, published in 1840
� The Mazurka in
B major � The composer declared � begins with a choir of
guitars and its execution is particularly difficult owing to
the dancing groups twisting in various directions and
mutually intertwining [�]. The Mazurka proper starts in the
fifth bar. This is what Chopin taught us.� - Wilhelm von
Lenz, Die grossen pianoforte, Virtuosen unserer Zeit, Berlin
1872
Mazurka op. 41, 4
for pianoforte in A Flat Major, Op. 41, 4 (Br. 126,
KK. 626-645)
composed in 1839/7, published in 1840
four mazurkas dedicated to Monsieur Etienne Witwicki
Waltz op. 42
for pianoforte in A flat
Major, Op. 42 (Br. 131, KK. 646-652)
composed in 1840/spring, published in 1840
"Since on the
30th of this month Mr Pacini publishes one of my waltzes in
his collection 'Hundred and one'. I am obliged to send you a
copy. I hope that the edition will not encounter obstacles."
- From a letter sent by Chopin to the company Breikopf and
Hartel in Leipzig, Paris 18 Jun 1840
"Chopin used to say that this waltz, stemming for an
eight-bar trill, should be rendered in the fashion of a
chiming clock. Played by him, its incessant
Stretta-Presstissimo, with a retention of the time in the
bass, personified the peak of the Chopinesque rubato style.
A floral garland of dancers!" - Wilhelm von Lenz,
Uebersichtliche Beurtheilung der Pianoforte - Compositionen
von Chopin, Neue Berliner Musikzeitung, 18 Sep 1872
Tarantella op. 43
for pianoforte in A Flat Major, Op. 43 (Br. 139,
KK. 654-662)
composed in 1841/summer, published in 1841
dedicated to Auguste Gathy
"I'm sending you
the Tarantella. Kindly copy it but first go to Schlesinger
or to Troupenas and look at the Receuil of Rossini's songs
published better by him, where the Tarantella is in A flat,
I don't know whether it is written in 6/8 or 12/8. They
write it one way and the other, but I would prefer that it
be like Rossini's. Also I ask you please instead of using
repeat signs, please write out everything. And if you find
the time incorrect in my manuscript, then don't give it,
just copy it, and in addition copy it a third time for
Wessel. I know this awful copying bores you, but I hope I
won't write anything worse very soon. Also please look at
the number of the last work, it is the number of the last
mazurkas, or of the waltz, which Paccini published, and thus
give the Tarantella the next number." - From a letter from
Chopin to Fontana in Paris, Nohant 27 Jul 1841
Polonaise op. 44
for pianoforte in F sharp minor, Op. 44 (Br. 135,
KK. 663-667)
composed in 1840/late - 1841/8, published in 1841
dedicated to Madame la Princesse Charles de Beauvau
"I have at
present the manuscript of at your disposal. It is a kind of
fantaisie in the form of a polonaise and I'll call it a
polonaise." - From Chopin's letter to the publisher Pietro
Mechetti in Vienna, Paris 23 Aug 1841.
"I propose him a new manuscript (a kind of polonaise, but
more of a fantaisie)." - From Chopin's letter to Fontana in
Paris, Nohant 24 Aug 1841
Prelude op. 45
for pianoforte in C sharp minor, Op. 45 (Br. 141,
KK. 668-672)
composed in 1841/8-9, published in 1841
dedicated to la Princesse Tchernischeff
"Yesterday,
Thursday, I stopped here. I did the prelude in C sharp minor
for Schlesginer, short, the way he wanted it. I shall give
him for his album today's prelude, which being well
modulated I can boldly send." - From a letter sent by Chopin
to Fontana in Paris, Nohant 30 Sep 1841.
"I am sending you the prelude in bigger script for
Schlesinger and smaller for Mechetii. You shall similarly
cut my manuscript of the polonaise and fold it (having
numbered the pages) after the fashion of the prelude. Also
do not forget to add the opus on the polonaise and the
subsequent number on the prelude, which you will be sending
to Vienna. I do not know how to spell Czernicheff: Tscher or
Tcher, is it Elisabeth and it is Tschernischef or ff, what
is their manner of spelling it." - From a letter sent by
Chopin to Fontana in Paris, Nohant 6 Oct 1841.