Chopin's Fantasy op.49, which can be regarded as a masterpiece representing his 'last style', has received increasing attention from his researchers for last twenty years after the long-term disregard. Those researchers have been engaged in both the analysis of Fantasy's structure and the inquiry into the background of its composition. Actually there are various ways to analyze Fantasy's structure. One finds the classical sonata form in the piece, another finds no particular form, and another recognizes the rondo form or the circular form. In this paper, I attempt to explain the unity of the piece by tracing the modification of the characteristic melody line, and suggest that the 'march' in Fantasy's introduction functions as a motto of the whole piece. It must be remarked that the 'march' derives from Kurpinski's Litwinka which was called 'a song of upset' in the 19th century. When Chopin cited the song in the 'march', he presumably sympathized with the May 3rd-constitution-movement which was developed by exiles from Poland in Paris, hoping for the restoration of their father-land. Moreover Chopin composed two other 'marchs' which has something to do with Polish history. So, there is a possibility that those three 'marchs' reflect Chopin's attitude toward historical realities.

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According to the Polish National 2008 Edition, all the 18 known songs by Fryderyk Chopin (fragments contained in the supplement not counted) are based on lyrics by Polish poets. Among them, his last song composition, Z gor, gdzie dzwigali (Bowed 'neath their Crosses), based on a poem by Zygmunt Krasinski, seems to be the most difficult, but also the most creative vocal work of the composer from both poetic and the musical techniques. This study aims to elucidate the relation between Chopin's composition and Polish poetics by analysing Z gor, gdzie dzwigali as an example. First, the style of Krasinski's poetry is characterized within the context of his biography. He was born in 1812 as a son of a General. His agony of the conflict between his father's support to the Russian Imperialism and Krasinski's Polish patriotism produced the ideas of 'early socialism,' 'redemption' and 'classical elements,' which became important components in his texts. Based on these factors, the poem Z gor, gdzie dzwigali is analysed in comparison with his epic Ostatni (Last Man), which contains the poem as the preface, and in comparison with Chopin's music. Moreover, this song and the peculiar relationship between Chopin and Krasinski is also illuminated in relation to Delfina Potocka, who was not only the dedicatee of this song but also a key person for both artists. The musical analysis shows Chopin's creative method of harmony in connection with the poem's narrative elements. Chopin's frequent use of a series of major thirds seems to represent Krasinski's sublime world symbolized by heavenly ray and the promised land. Such narrative strategies may also relate to other works of the composer, namely, the four ballades.

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