1 There are just three named examples that can be attributed to Bach: one for keyboard (in the Sixth French Suite, bwv817) and two for orchestra (in Brandenburg Concerto No. 1, bwv1046, and the Ouverture in B minor, bwv1067). There are more examples in the works of Telemann, including a number of Ouverturen (twv55:D13, F14, A2, a2, a4 and B12), Danses d'Polonese (D-ROu Mus. saec. XVII 18. 53/3 and 3a, dated after 1717–1722) and a single movement for flute or violin and continuo, dated 1728 (twv41:D4).

2 Schulenberg, David, The Music of Wilhelm Friedemann Bach (Rochester, NY: University of Rochester Press, 2010), 96 Google Scholar.

3 See Koch, Klaus-Peter, Die Polonische und Hanakische Musik in Telemanns Werk (Magdeburg: Zentrum fur Telemann-Pflege und -Forschung, 1982 and 1985)Google Scholar; Zohn, Steven, Music for a Mixed Taste: Style, Genre, and Meaning in Telemann's Instrumental Works (Oxford: Oxford University Press, 2008)CrossRefGoogle Scholar; Paczkowski, Szymon, ‘On the Problems of Parody and Style in the “Et resurrexit” from the Mass in B Minor by Johann Sebastian Bach’, Bach 37/2 (2006), 1–44 Google Scholar; and Paczkowski, ‘The Role and Significance of the Polonaise in the Quoniam of the B Minor Mass’, in Exploring Bach's B-Minor Mass, ed. Tomita, Yo, Leaver, Robin A. and Smaczny, Jan (Cambridge: Cambridge University Press, 2013), 54–83 CrossRefGoogle Scholar.

4 Scholes, Percy A., ed., Dr Burney's Musical Tours in Europe: An Eighteenth-Century Musical Tour in Europe and the Netherlands, two volumes (London: Oxford University Press, 1959), volume 2, 153Google Scholar.

5 See Paczkowski, Szymon, ‘Bach and the Story of an “Aria Tempo di Polonaise” for Joachim Friedrich Flemming’, Bach 38/2 (2007), 64–98 Google Scholar.

6 Wollny, Peter, ‘“ . . . welche dem größten Concerte gleichen”: The Polonaises of Wilhelm Friedemann Bach’, in The Keyboard in Baroque Europe, ed. Hogwood, Christopher (Cambridge: Cambridge University Press, 2003), 169 Google Scholar.

7 Sachs, Curt, World History of the Dance, trans. Schönberg, Bessie (London: Allen & Unwin, 1938), 425 Google Scholar, citing Das Königliche Denckmahl, welches nach geschehener Vermählung Ihro Hoheit des Königlichen und Chur-Sächsischen Cron-Printzens Herrn Friedrich Augusti, mit der Durchlauchtigsten Fr. Maria Josepha, Ertz-Hertzogin von Oesterreich, bey Dero Hohen Ankunfft in der Königl. und Chur-Sächs. Residentz-Stadt Dreßden, vom ersten biß letzten Sept. 1719 gestifftet worden (Frankfurt and Leipzig, 1719), 43.

8 Paczkowski, ‘Role and Significance’, 72.

9 Paczkowski, ‘Aria Tempo di Polonaise’, 80, observes that there are also many collections of songs or odes containing sung polonaises, such as Sperontes's Singende Muse an der Pleisse (Leipzig, 1736), in which a third of the pieces are polonaises.

10 Schulenberg, Music of Wilhelm Friedemann Bach, 96, comments that ‘if any members of the Bach family actually saw polonaises being danced, these were more likely stylized versions in Dresden court ballets than the Polish folk dances from which the [former] presumably evolved’. Yet it seems inconceivable that Friedemann did not attend civic Redouten in the period 1733–1746, and thus it would have been not ‘court ballet’ but functional dances in the polonaise style that he experienced.

11 Wollny, ‘Polonaises of Wilhelm Friedemann Bach’, 173.

12 Wollny, ‘Polonaises of Wilhelm Friedemann Bach’, 171, notes Friedemann's ‘virtuosic tendency’ in relation to his brothers’ music.

13 For example, ‘Ziegler, Giov. Gottfr. Musico di Cam. Del Contr di Brühl, XXIV. Polonesi per tutti i tuoni all’ Clavicembalo. Berlino, 1764’, listed in the Breitkopf Catalogue, which are identical to Goldberg's 24 Polonaisen durch alle Tonarten (1749). See Maxim Serebrennikov, ‘“Ziegler Variations” on the “Goldberg Polonaises”: In Search of an Author’, Harpsichord and Fortepiano 14/2 (2010), 9–13. The Twelve Polonaises, Fk12, that Wilhelm Friedemann Bach composed c1754–1765 in Halle in the period following his stay in Dresden were advertised for subscription in 1770. Among other collections is the anonymous Menuetten und Polonoisen für das Clavier (Leipzig: Breitkopf, 1769).

14 For example, D-Lem, Becker III.8.28: ‘Tänze Arien, Ouvertüren und Stücke aus den Opern und Klaviersuiten von C. H. Graun, J. A. Hasse, Fiorillo, Gebel, Hofmann u. a. mit einem Anhang von 18 Chorälen’. Two of the anonymous items in this compilation are the final movements of Johann Christian Roellig's Partita in D major (D-Bsa, SA 2351) and Partita in C major (SA 2413).

15 Downes, Stephen, ‘Polonaise’, in The New Grove Dictionary of Music and Musicians, second edition, ed. Sadie, Stanley and Tyrrell, John (London: Macmillan, 2001), volume 20, 45Google Scholar.

16 For example, ‘Albrechts, Joh. Lotz. Musicalische Aufmunterung vor die Anfänger des Claviers, bestehend in sieben Menueten, und eben so viel Polonoisen, duch die Durtöne C. D. E. F. G. A. B. welche auf das leichteste eingerichtetem und nach denen anfangend Clavier-Schülern zum Gebrauch und Uebung herausgegeben, I. Theil Augsp, 1760’, offered in Verzeichniss Musicalischer Bücher sowohl zur Theorie als Praxis, und für alle Instrumente, in ihre gehörige Classen ordentlich eingetheilet (Leipzig: Breitkopf, 1763), and Löhlein, Georg Simon’s Clavier=Schule, oder kurze und gründliche Anweisung zur Melodie und Harmonie, durchgehends mit practischen Beyspielen erkläret (Leipzig and Zullichau, 1765)Google Scholar, which contains four polonaises.

17 See Springthorpe, Nigel, ‘Porcelain, Music and Frederick the Great: A Survey of the Klipfel Collection in the Sing-Akademie, Berlin’, Royal Musical Association Research Chronicle 46/1 (2015), 1–45 CrossRefGoogle Scholar. This repertoire is discussed below.

18 The ‘Dresden Partita’ was first identified as a distinct subgenre in Springthorpe, Nigel, ‘Who was Röllig? Röllig and the Sing-Akademie Collection’, in Musik an der Zerbster Residenz, ed. Musketa, Konstanze and Reul, Barbara M. (Beeskow: Ortus, 2008), 117–142 Google Scholar.

19 Springthorpe, ‘Porcelain, Music and Frederick the Great’.

20 Anonymous, Neue Ansicht von Dresden. Für Reisende von einem Reisenden (Leipzig, 1799), 156, quoted in Remy Petric, Dresdens bürgerlisches Musik- und Theaterleben im 18. Jahrhundert (Marburg: Tectum, 2011), 358.

21 That is, the Carnival opera season that started shortly after Christmas in many centres, as opposed to the religious period ending on Shrove Tuesday. See John A. Rice, ‘Music and the Grand Tour in the Eighteenth Century’, Hollander Distinguished Lecture in Musicology, Michigan State University, 15 March 2013 <https://sites.google.com/site/johnaricecv/music-and-the-grand-tour> (14 November 2014).

22 Rosseaux, Ulrich, Freiräume: Unterhaltung, Vergnügen und Erholung in Dresden 1694–1830 (Cologne: Böhlau, 2007), 95 Google Scholar.

23 Rosseaux, ‘Freiräume’, 96.

24 Rosseaux, ‘Freiräume’, 89.

25 Au, Susan, ‘Polonaise’, in International Encyclopedia of Dance, ed. Cohen, Selma Jeanne, six volumes (Oxford: Oxford University Press, 1998), volume 5, 223.Google Scholar

26 Greenberg, Donna, ‘Workshop: An Introduction to the Eighteenth-Century Polonaise’, in Proceedings of the Society of Dance History Scholars, Twenty-Fifth Annual Conference, Temple University, Philadelphia, Pennsylvania 20–23 June 2002 (Stoughton, WI: Society of Dance History Scholars, 2002), 45–46 Google Scholar.

27 Christoph Gottlieb Hänsels, Tanzmeisters auf der Universität Leipzig, Allerneueste Anweisung zur aeusserlichen Moral, worinnen im Anhange die so genannten Pfuscher entdecket, und überhaupt der Misbrauch der edlen Tanzkunst einem ieden vor Augen gelegt wird (Leipzig, 1755).

28 From time to time the man passed the lady in front of him to his other side and then back again, and the dance might be punctuated or varied with bows and polite conversation (more customary during the late eighteenth and early nineteenth centuries). See Au, ‘Polonaise’, 223.

29 Hänsel, Allerneueste Anweisung zur aeusserlichen Moral, 138–139, translated in Greenberg, ‘Workshop’, 45–46. A hey is a serpentine dance or type of reel in which three or more dancers move in the opposite direction to the main line, passing the oncoming dancers alternately to the right and left, with or without holding hands. See Ingrid Brainard, ‘Hey’, in International Encyclopedia of Dance, ed. Cohen, volume 3, 361.

30 Hänsel, Allerneueste Anweisung zur aeusserlichen Moral, 138–139, translated in Greenberg, ‘Workshop’, 45.

31 Carl Friedrich Cramer, ed., Magazin der Musik 1 (1783), 54, translation modified from Greenberg, ‘Workshop’, 45.

32 Lagerbring, Sven, Swea Rikes Historia (Stockholm, 1769–1783)Google Scholar, quoted in Skeaping, Mary, ‘Ballet under the Three Crowns’, Dance Perspectives 32 (1967), 44 Google Scholar.

33 The 1764 non-thematic catalogue (Verzeichniss Musicalischer Werke, 4) lists three sets of orchestral dances that appear to be by Steinmetz: VIII. Polonese, a 2 Corni, 2 Oboi, 2 Violini & Basso, X. Polonese, a 2 Violini & Basso. 12 gl. and XII. Polonese, a Violini unis e Basso. 8 gl. Little is known of Steinmetz (1717–1753), who worked in Dresden. Gebel (VI Menuetti & VI Polonese per il Cemb. Solo; Verzeichniss Musicalischer Werke, 38) is presumably Georg Gebel, junior (1709–1753), who was appointed to the Dresden Kapelle of Count von Brühl in 1735. He took lessons on the pantaleon from Hebenstreit and left Dresden in 1747 to become Kapellmeister to the Prince of Schwarzburg-Rudolstadt. Horn (VI Menuetti per il Cembalo Solo and VI Polonese per il Cembalo Solo; Verzeichniss Musicalischer Werke, 38) may be Johann Ludwig Horn or, more probably, Christian Friedrich Horn (fl. 1730–1760), who was Konzertmeister of the Brühl Kapelle. Johann Christian Fischer (1733–1800) is listed in the Dresden court calendar of 1764 as a member of the Hofkapelle. Some time after that, he started touring as an oboe soloist and eventually settled in London, where he married the daughter of Thomas Gainsborough, who painted a full-length portrait of him.

34 D-Mgmi, HA IV 6.

35 These include ‘Steyerisch, Masur, Cosac, 1767’ by Simonetti (Strasburg), ‘XII Minuets per Carnival’ by Johann Gottfried Janitsch (Berlin) and sets of minuets by C. F. Prager, Pannerberg (Hanover?), Christoph Wagenseil (Vienna), Giovanni Antonio Matielli (Vienna) and ‘Haydn’ (Vienna).

36 A great deal of music offered in the firm's early catalogues was acquired during the period around 1760. See Glöckner, Andreas, ‘Church Cantatas in the Breitkopf Catalogs’, in Bach Perspectives 2: J. S. Bach, the Breitkopfs, and the Eighteenth-Century Music Trade (Lincoln: University of Nebraska Press, 1996), 27–30 Google Scholar.

37 Marpurg, Friedrich Wilhelm, Kritische Briefe über die Tonkunst, mit kleinen Clavierstücken und Singoden begleitet von einer musikalischen Gesellschaft in Berlin (Berlin, 1763), volume 2, letter LXX (17 July 1761), 41–46 Google Scholar. Schale is probably one of the ‘contemporary theorists’ Szymon Paczkowski refers to in ‘Parody and Style’, 28. All translations are mine unless otherwise indicated.

38 Türk, Daniel Gottlob, Klavierschule, oder Anweisung zum Klavierspielen für Lehrer und Lernende mit Kritischen Anmerkungen (Leipzig and Halle, 1789), 402 Google Scholar.

39 Schulenberg, Music of Wilhelm Friedemann Bach, 96.

40 Wollny, ‘Polonaises of Wilhelm Friedemann Bach’, 173.

41 Sammlung Einiger Sonaten, Menuetten und Polonoisen, wie auch einiger andern Stücke für das Clavier (Braunschweig: Fürstl. Waysenhaus-Buchhandlung, 1769). Fleischer studied in Leipzig, probably with Johann Friedrich Doles, took up a position in Brunswick in 1747 and was later a teacher of Princess Anna Amalia of Weimar. He is known for his virtuosic keyboard works that are similar in style to those of Carl Philipp Emanuel Bach.

42 Goldberg, PL-WRu, 61477; Ziegler, , 24 Polonoises pour le Clavecin (Berlin, 1764)Google Scholar.

43 ‘Menuetten und Polonesen fürs Clavier’, Verzeichniss Musicalischer Werke, 1770, 102.

44 Greenberg,‘Workshop’, 46.

45 For example, eight of the polonaises in W. F. Bach's Fk12 (Nos 1, 3, 5, 7, 8, 9, 10 and 11) modulate to the dominant at the end of the first repeated section, whereas Nos 2 and 6 modulate to the relative major.

46 Marpurg, Kritische Briefe über die Tonkunst, volume 2, letter LVII (4 July 1761), 21.

47 Mattheson, Johann, Der vollkommene Capellmeister (Hamburg: Herold, 1739), 228 Google Scholar, translated in Harriss, Ernest C., Johann Mattheson's ‘Der vollkommene Capellmeister’: A Revised Translation with Critical Commentary (Ann Arbor: UMI, 1981), 458–459 Google Scholar. Perhaps the polonaise was described as a ‘minuet polinese’ because the minuet was one of the few early eighteenth-century dances that started without an anacrusis.

48 Türk, Klavierschule, 402. My translation.

49 Cramer, ed., Magazin der Musik 1 (1783), 54. My translation.

50 Szweykowski, Zygmunt M., ‘Tradition and Popular Elements in Polish Music of the Baroque Era’, Musical Quarterly 56/1 (1970), 105 Google Scholar.

51 Marpurg, Kritische Briefe über die Tonkunst, volume 2, 43, suggests that such a rhythm is typical of the German Polonaise.

52 Marpurg, Kritische Briefe über die Tonkunst, volume 2, letter LVII (4 July 1761), 18 and 44.

53 Zohn, Music for a Mixed Taste, 494, 495 (Example 9.2b) and 497.

54 Both Roellig's 1755 and 1756 sets of minuets and Knechtel's 1755 set of minuets begin in D major but end in B flat major. Neruda's set of minuets ends in G major, whereas Hiller's ends in D minor. Roellig's 1755 and 1756 sets of polonaises end in either A major or A minor, while Klipfel's 1755 set ends in G major and the ‘Gebel’ and Neruda sets end in F major. All have similar modulatory patterns and explore closely related keys in the first half of the sequence before moving to flat keys (B flat major, E flat major and C minor) in the second half.

55 D-SWl Mus. 4739. It is significant that Breitkopf offered sets of dances by as many as four composers in any given year, perhaps an indication of the amount of music required for an evening of dancing, or that organizers of Redouten had a choice of material to distribute among different venues. In any case, the Breitkopf listings illustrate the richness of the repertoire.

56 Paczkowski, ‘Parody and Style’, 25.

57 See Springthorpe, ‘Porcelain, Music and Frederick the Great’, 5–13.

58 The fourth homage cantata is Die Lust von jenem Schreckenbilde (D-Bsa, SA 1177(5)), performed in Meissen on 7 October 1753. Not only does the symphony include a polonaise movement, but the work is also suitably scored for a royal birthday, with trumpets, timpani, two oboes and strings. It is possible that two other Roellig symphonies with a polonaise or alla polacca central movement were associated with lost vocal works: the Symphony in D major of 1747 (SA 2301 and SA 2398) and the Symphony in B flat major (SA 3202) for posthorn, two oboes and strings.

59 Russell Todd Rober, ‘Form, Style, Function and Rhetoric in Gottlob Harrer's Sinfonias: A Case Study in the Early History of the Symphony’ (PhD dissertation, University of North Texas, 2003), 112.

60 HarWV 7, Sinfonia nella quale si trova tutto quel che si suona quando si fa caccia al cervo forzato fatta per la festa di Sant'Uberto nella | Real Villa d'Ubertusburg l'anno 1747 li 3 Novembre (D-LEm, Becker III.II.41/1); HarWV29, Sinfonia imitante la caccia dei Cignali, | fatta per la festa di Sant'Uberto nella / Real Villa d'Ubertsburg l'anno 1737 li 3 Novembre (D-LEm, Becker III.II.42/7).

61 On the music and social context of these works, and for scores, see Rober, ‘Form, Style, Function and Rhetoric’, 112–144, 173–203 and 411–436.

62 Poniatowski, Stanisław August, Mémoires du roi Stanislas-Auguste Poniatowski (St Petersburg: Académie impériale des Sciences, 1914–1924)Google Scholar, reprinted in von Boroviczény, Aladär, Graf von Brühl, der Medici, Richelieu und Rothschild seiner Zeit (Zurich: Amalthea, 1929), 405–406 Google Scholar. Poniatowski (1732–1798) was the last King and Grand Duke of Poland (1764–1798), and visited Dresden in 1747.

63 Hasse's opera also features a hunt scene in which Dido and Aeneas are separated from the rest of the hunting party and make love in a remote cave. Ortrun Landmann appears to have been the first to observe the symbolic meaning of polacca sections in Hasse operatic sinfonias in ‘Bermerkungen zu den Hasse-Quellen der Sächsischen Landesbibliothek’, in Colloquium ‘Johann Adolf Hasse und die Musik seiner Zeit’, ed. Friedrich Lippmann (Laaber: Laaber, 1987), 493–494.

64 Underlining here and in following diagrams indicates sequential repetition. A six-bar phrase structure also occurs in the alla Polaca movement of Harrer's Symphony in D major, HarWV7: 4, 2+2, 2 :||: 4, 2+2, 2 = ||: A, bbc :||: A¹, bbc :||.

65 See Springthorpe, ‘Who Was Röllig?’, 131–133, for a summary of the typical movement plans of Roellig's Dresden partitas and suites. Saxon and other composers associated with the Dresden partita include Johann Adam (1704–1779), Johann Friedrich Drobisch (1723–1762), Fritsch (fl. 1737), Georg Gebel (1709–1753), Gottlob Harrer (1703–1755), J. A. Hasse (1699–1783), Johann Adam Hiller (1728–1804), Johann Ludwig Horn (fl. 1735–1762), Christian Gottfried Krause (1719–1770), Johann Kropfgans (1708–c1770), George Simon Löhlein (1725–1781), Christian Gottlob Neefe (1748–1798), Johann Baptist George Neruda (c1707–c1780), Johann Christian Roellig, Markus Ruslaub (fl. 1760–1785), Johann George Schürer (c1720–1786), Gottfried Siegmund Schwägrichen (1694–1741), Johann Erhard Steinmetz (fl. 1750), Johann George Tromlitz (1725–1805) and Johann Gottlieb Wiedner (c1714–1783). The Dresden partita is a topic of my ongoing research.

66 Partita in D major (D-Bds SA 2319) / Divertimento in D major (SA 4338), Partita in D minor (SA 2318) / Divertimento in D minor (SA 3242), and Partita in G major (SA 2397/SA 2340) / Divertimento in G major (SA 2423; SA 2423). On the dating of these works see Springthorpe ‘Porcelain, Music and Frederick the Great’, 28–30. The Partitas are arrangements of the first three works in VI Divertimenti for flute or violin and cembalo (Breitkopf catalogue, 1763, part 4, 14). With the exception of Roellig and Binder, all the composers of divertimenti advertised in the Breitkopf catalogues of 1761–1767 were of Austrian or Bohemian descent and worked in the Austrian orbit (Maximilian Joseph Hellmann, Joseph Haydn, Georg Christoph Wagenseil, Antonin Kammel, Karl Kohaut, Leopold Mozart, Carl Ditters von Dittersdorf and Leopold Hofmann). It is possible that Wagenseil's visit to Dresden in 1756 was a catalyst for interest in the divertimento, a new genre to the city in the late 1750s. There is a large collection of his music, including many divertimenti, among the materials previously in the former court library (now in D-Dlb).

67 The movements in D major and G major adopt a slightly different model in which the first half of the coda is varied from previous versions of the Tranquillo, alla Polaca section.

68 Telemann coined the phrase ‘die lustige polnische Ernsthaftigkeit’ in a commentary on the Lied ‘Sanfter Schlaf’ (tvwv25:63 in Singe-Spiel- und General-Bass-Übungen, No. 25), quoted in Zohn, Music for a Mixed Taste, 487.

69 Johann Adolph Scheibe, Der critische Musicus (Leipzig, 1745), 145, quoted and translated in Zohn, Music for a Mixed Taste, 487.

70 Other popular proportions are 4:||:6 (five examples), 4:||:10 (four), 10:||:20 (four) and 6:||:12 (three).

71 Other proportions include 4:||:8, 4:||:12 (two examples), 4:||:14, 5:||:8, 6:||:10 (two), 6:||:14, 6:||:16, 6:||:24, 8:||:8 (two), 8:||:10, 8:||:14, 8:||:16, 8:||:20, 8:||:24, 10:||:12, 10:||:14, 12:||:16 and 12:||:18.

72 The earlier group of polonaises belongs to works in which all the movements are very brief: Partita in F minor (D-Bsa, SA 3237) for flutes and strings, the Partitas in A minor (SA 2341) and D major (SA 2432) for flute and cembalo, and the second of six suites for wind band (SA 2415/2) in B flat major.

73 Partitas in C major (D-Bsa, SA 2342), C minor (SA 3233), G major (SA 2352) and A major (SA 2356/2) and Divertimento in A major (SA 2355), all for strings; Partita in C major (SA 3234) and Divertimento in G minor (SA 3236), both for flute and cembalo (possibly arrangements of lost orchestral works). SA 3236 is the fourth work in VI Divertimenti for flute or violin and cembalo (Breitkopf catalogue, 1763), and SA 2342 and SA 3233 are arrangements of the fifth and sixth works in the same collection.

74 Breitkopf catalogue, Raccolta V, No. 3 (D-Bsa, SA 2415/3), for wind band. The work was arranged ‘a6’ for trumpets and strings (SA 2535) and ‘a2’ for violin and cembalo (SA 2418/5). Other examples of an entire movement based upon the music of the first repeating section include the central movements of the symphonies in C major (SA 2300) and B flat major (SA 3202), discussed above.

75 Similarly, the ‘E’ phrase in D-Bsa, SA 2421, quoted above, also consists of a one-bar sequence and a cadential bar (AAAB).

76 According to Maja Trochimczyk, ‘Polonaise (Polonez)’ <www.usc.edu/dept/polish_music/dance/polonaise.html> (30 July 2014), the trio first appears in polonaises by Michał Kleofas Ogiński (1765–1833), composed c1790. However, earlier examples are found in Telemann's ouvertures, such as twv55:a2.

77 In the Partitas in D major (D-Bsa, SA 2338, c1748) and G major (SA 2345 and 2395, c1748–1754), the second dance is called ‘trio’, whereas in the Partita in B flat major (SA 2410, c1756), it is called ‘Polonoise 2’.

78 Maja Trochimczyk, ‘Polish Dances: Mazur (Mazurka)’, <www.usc.edu/dept/polish_music/dance/mazur.html> (24 August 2014).

79 Riepel, Joseph, Anfangsgründe zur musicalischen Setzkunst (Regensburg and Vienna, 1752), volume 1, 50Google Scholar.

80 Trochimczyk, ‘Polish Dances: Mazur (Mazurka)’, reports that the music of mazurkas ‘consists of two or four parts, each part having six or eight bars, and each part is repeated’.

81 Marpurg, Kritische Briefe über die Tonkunst, volume 2, 45–46.

82 Trochimczyk, ‘Polish Dances: Mazur (Mazurka)’, quoting Windakiewiczowa, Halina, Wzory polskiej muzyki ludowej w mazurkach Fryderyka Chopina (Warsaw, 1926)Google Scholar.

83 On the adaptation of a related repertory of folk dances see Rawson, Robert G., ‘Courtly Contexts for Moravian Hanák Music in the 17th and 18th Centuries’, Early Music 40/4 (2012), 577–591 Google Scholar.