Antonín Dvorák's Mazurka, or more properly Mazurek, for violin and piano (alternately orchestra) in E minor, Op. 49 was composed in early 1879; it was dedicated to the famous Spanish violinist Pablo de Sarasate, the dedicatee for some of the most beloved violin concertos of the late nineteenth century. Dvorák's Mazurek has never been exceedingly popular, but it is a worthy piece nonetheless, and fascinating—Dvorák's personal Bohemian stamp peers out around the corners of every bar of the Polish dance.

The mazurek is a specific sub-class of mazurka—the incisive, robust kind made famous by so many Chopin works. Fiery, and perhaps at times even military in tone, Dvorák's Mazurek is a fine representative of its breed (he was certainly familiar enough with Slavic music). The physical characteristics of the style quite naturally lend themselves to the composition of a work that has pronounced virtuoso characteristics (this is not an easy piece to play by any standard), but there is also plenty of room for sentiment in the piece, always refined and restrained, never drippy. The music of the central meno mosso in B major is expertly poised between melodiousness and impishness. The final bars provide some daredevil acrobatics that first plunge into the violin's lowest register and then rocket all the way up to electrifying heights.

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