The Hispanic mazurkas of Chopin/Viardot-García: cosmopolitan melting pot of cultured and popular genres
DOI
https://doi.org/10.25267/Cuad_Ilus_romant.2025.i31.25Info
Authors
- Marta Vela (ES) Universidad Internacional de La Rioja https://orcid.org/0000-0002-5700-6767
Abstract
After the intense relationship with Frédéric Chopin during the 1840s, Pauline Viardot-García arranged a series of twelve mazurkas for voice that she disseminated throughout Europe, especially after the death of the Polish composer, which were published late in 1864 with texts by Louis Pomey. However, the Pauline Viardot-García papers of the Houghton Library of Harvard University have shown that the arrangements of the first five mazurkas (from 1846) were with lyrics in Spanish, long before Pomey’s version, along with others such as the Jota de los estudiantes, from the same period, hence the Hispanic condition of this series of works. The only mazurka by Chopin/Viardot-García that has remained unpublished, La tortolilla triste VWV 4045 (1857), from Mazurka Op. 17 No. 2 (1833), could be inspired, in turn, by one of Bellini’s ariettas, with whom Chopin had a camaraderie between 1833 and 1835. Perhaps, for this reason, it has remained unpublished until February 2024, in the broad context of Romanticism, through a hybridization of cultured and popular genres, between Italian opera and Spanish song, which reinforce its importance during the era of cosmopolitan culture.
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