Our freedom is hemmed in on every side. We must be grateful for what remains. - Charles Rosen

By the late eighteenth century, there is a sad and permanent decline in the quality of music written for young performers or beginners: one has only to compare Bach's Album for Anna Magdalena Bach and the Two-Part Inventions with anything that came later. No composer of importance between Bach and Schumann turned his hand to writing for children, and Schumann's essays came after his years of greatest inspiration for piano writing had gone. (Mozart is the odd exception, but then he was, in fact, almost incapable of writing really easy pieces: he no doubt believed that his Sonata in D Major, K.576, was easy, perhaps because all the hard passages in the first movement were in simple two-part counterpoint, one voice in each hand, but he was wrong.)

It is above all through landscape that music joins Romantic art and literature.

Chopin's mazurkas stand apart from the rest of the considerable production inspired by folk music which reaches into all forms of Romantic music; they cannot conveniently be classified with any of the other manifestations. They are not arrangements of popular folk tunes, ... He uses only fragments of melody, Polish formulas, typical national rhythms, and he combines them in his own way with great originality. From early on, Chopin's mazurkas are much more elaborate than the few modest pieces employing mazurka rhythms by Chopin's Polish predecessors, and they soon became the occasion for some of the most complex and pretentious of Chopin's forms.