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This lasting influence of the Romantic patriotic impulse is borne out by images in a series of allegorical postcards issued in Kraków in . The two shown here portray Mickiewicz and Chopin surrounded by national allegories of their works: the poet witnessing Mickiewicz, Pan Tadeusz, . Wójcicki, Spo¬ecznos´c´ Warszawy w pocza˛tkach naszego stulecia, . . ” Postcard. Ser. , no.  (Kraków: Wydawnictwo Salonu Malarzy Polskich, ). Author’s collection. Jankiel’s improvisation as it evokes the spirits of Poland’s glorious past (fig.

Hube’s unbridled opinions, for instance, “that a man can achieve nothing in the customary way and according to a plan devised by himself; one must leave something to chance,”16 surely left a mark on the impressionable youth. Among his slightly older peers were Mochnacki, Zaleski, and Witwicki, who by  became central to the propagation of Romanticism. The imprint left on Chopin by the multitalented Maurycy Mochnacki must have been staggering: he was one of the core conspirators of the November Uprising and a journalist who with dazzling eloquence championed Romantic poetry and new philosophies of music, while promoting most recent operas and Chopin’s earliest public performances.

Fantasy. 29 Similarly, his idiosyncratic fingerings—for instance, 28 Richard Maunder, “Mozart’s Keyboard Instruments,” Early Music / (May ): –, and David E. Rowland and Richard Maunder, “Mozart’s Pedal Piano,” Early Music / (May ), –. I am grateful to David Rowland for helping me identify the instrument in fig.  as the pedal piano. 29 The hymn, which in our century contended for the role of the national anthem, in Chopin’s youth was a praise of Czar Alexander, the king of Poland.

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