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Ostatni mazur: Jeszcze jeden mazur dzisiaj
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​​Ostatni Mazur 
(pieśń wojskowa)
słowa: Ludwik Ksawery Pomian-Łubiński 1839-1892
muzyka: Fabian Tymulski 1863 r.
Em                                          B7
Jeszcze jeden mazur dzisiaj, nim poranek świta,
​Em                                           B7
„Czy pozwoli panna Krzysia?” młody ułan pyta.
D                                    D7
I tak długo błaga, prosi, boć to w polskiej ziemi:
Em                                       B7                Em
W pierwszą parę ją ponosi, a sto par za niemi.
Em                                        B7               Em
W pierwszą parę ją ponosi, a sto par za niemi.

On coś pannie szepce w uszko i ostrogą dzwoni,
Pannie tłucze się serduszko i liczko się płoni.
Cyt, serduszko, nie płoń liczka, bo ułan niestały:
O pół mili wre potyczka, słychać pierwsze strzały.

Słychać strzały, głos pobudki, dalej na koń, hurra!
Lube dziewczę porzuć smutki, dokończym mazura.
Jeszcze jeden krąg dokoła, jeden uścisk bratni,
Trąbka budzi, na koń woła, mazur to ostatni.​
Performed by Catie LeCours
During "Uprising" Performance
CLICK HERE
to view the evergrowing master list of Polish folk songs on PoloniaMusic.com.

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to enter 
Folk & World Music Store via the back door.

Traditional Polish Music
Polish folk music was collected in the 19th century by Oskar Kolberg, as part of a wave of Polish national revival. With the coming of the world wars and then the Communist state, folk traditions were oppressed or subsumed into state-approved folk ensembles. The most famous of the state ensembles are Mazowsze and Śląsk, both of which still perform. Though these bands had a regional touch to their output, the overall sound was a homogenized mixture of Polish styles. There were more authentic state-supported groups, such as Słowianki, but the Communist sanitized image of folk music made the whole field seem unhip to young audiences, and many traditions dwindled rapidly.

Polish dance music, especially the mazurka and polonaise, were popularized by Frederick Chopin, and they soon spread across Europe and elsewhere. These are triple time dances, while five-beat forms are more common in the northeast and duple-time dances like the krakowiak come from the south. The polonaise comes from the French word for Polish to identify its origin among the Polish aristocracy, who had adapted the dance from a slower walking dance called chodzony. The polonaise then re-entered the scene and became an integral part of Polish music.

Autorem tekstu jest Ludwik Ksawery Łubiński(1839-1892), twórca wierszowanych utworów patriotycznych, uczestnik Powstania Styczniowego. Twórcą melodii jest Fabian Tymolski (1828-1885), kompozytor około 200 tańców - mazurków, polonezów, polek, marszów, krakowiaków i kołomyjek.

***************

Very popular to the present day mazur is in the repertory of many military bandstands and folk groups. The text's author is Ludwik Ksawery Łubiński (1839-1892) writer of many poetic patriotic pieces of work, participant of the January Uprising. The melody's creator Fabian Tymolski (1828-1885) composer of about 200 dances, known today only from that unique song. 


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