In Bogusław Schaeffer’s catalogue of perhaps more than 800 works,  one might expect at least a few mazurkas. After all, he cultivated  classical and Romantic genres passionately—the symphony above  all—even during his experimental period, eventually making  several of them (the mass, piano concerto, and string quartet)  into veritable pillars of his late, polystylistic output. And yet his  nineteen Mazurkas were written as early as 1949, by a twentyyear-old Boguś, who not only had not become an experimentalist  composer and connoisseur of the world avant-garde yet, but had  not even begun his composition studies. There is little Chopin in  them and no trace of Webern at all, somewhat more Szymanowski  and Bartók. Above all, though, we hear the beginnings of a— sadly never developed—branch of Polish music, one that, in  one of the parallel worlds, still resounds today every summer  in the Royal Łazienki Park.