J S Bach Fugue No. 1 in C major, BWV 846, from Bach’s Well-tempered Clavier

 

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The Fuga is one of the most complex and original compositions of J.S. Bach. This genre is characterized by the imitation where voices enter like a “relay race”. We can find in it the exposition in the first 6 bars, the counter-exposition at bars 7-10, the six Stretti, a tonic pedal at bars 24-27 and a final coda at three last bars. This Fugue has a “real” answer so it is a “real” Fugue and the particular is that It has no counter-subject. The order in which the voices enter in the Exposition is unusual, as the Subject and Answer do not regularly alternate, but follow one another in the following order: Subject, Answer, Answer, Subject. The Fugue has three complete and three incomplete Stretti. The Stretti at bar 7, Bar 10, and at bars 24-25 are incomplete because all the voices do not take part in them. The complete Stretti in which all the voices take part are in bars 14-15, 16-18, and 19-21.

Bibliography:

The forty-eight preludes and fugues of John Sebastian Bach analysed for the use of students wrote by Frederick Iliffe edited by Sir John Stainer and Sir. C. Hubert and H. Parry, London Novello and Company, 203 pp.

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F. Chopin: Mazurka Op.7 N.3

chopin 6--U15041709035UhG-545x686.jpegThe Mazurka Op.7 n.3 is the only one in the set to feature no repeats. It returns to a folkish and rustic surround. The scene opens pianissimo with a sound like a bagpipes, then an Oberek appears as the principal theme. This is followed by a Kujawiak, interrupted by the violent entrance of a Mazur and at the end, a new Kujawiak closes the piece, according to Professor Mieczysław Tomaszewski.

Thanks for your attention and good listening!

Chopin Mazurka Op.7 N.3

F. Chopin: Mazurka Op.7 N.2

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Mazurka op. 7 n. 2 was composed by Chopin in a minor key. It has an intimate sound and sometimes tends to be grateful. The central part instead seems to evoke a piece of medieval festival music with a trumpet ring. In fact, in the album of Elsner’s daughter, Emilia was found in a previous version, with a first chorus in the key of LA major, based on the music of a band of rural actors, to which Chopin wrote Dudy (Bagpipes). According to Professor Mieczysław Tomaszewski.

Thanks for your attention and good listening!

Chopin Mazurka Op.7 N.2



F. Chopin: Mazurka Op.7 N.1

chopin 6--U15041709035UhG-545x686.jpegThis Mazurka is in B flat major, Szulc wrote that ‘it has hired the length and breadth of Poland. This mazurka is similar in character to the ‘drinking song’ titled ‘Hulanka’. This Mazurka has the form of a rondo. The refrain, of unconventional design, thrusts its way upwards, swinging and swaggering, before falling back down in a delicate scherzando. The first of the two episodes, the one in F major, is a kujawiak. The second episode makes us wonder at its mysterious otherness, according to professor Mieczysław Tomaszewski.

Thanks for your attention and good listening!

Chopin Mazurka Op.7 N.1

F. Chopin: Mazurka Op.30 N.2

chopin 6--U15041709035UhG-545x686.jpegThis Mazurka is in B minor has a peculiar music character that combines a minor key with a moderate tempo. The opening theme is based on a play of dynamics, alternating between piano and forte. In its wake, a curiously breathless motif comes to the forte, repeated insistently, on ever higher degrees of the scale. Some listeners were put in mind of the voice of a cuckoo – a bit of musical fun that had been used many times before, from Couperin and Daquin to Haydn and Beethoven.

The poet Kornel Ujejski, who wrote what he called ‘translations’ of Chopin, lent the B minor Mazurka a sentimental anecdote. The cuckoo tells a girl when she will wed: ‘Ile więc razy kukułeczka kuknie,/To za wiosen tyle wezmę ślubną suknię’ [So, however, many times the little cuckoo sings,/You’ll don your wedding dress in that many springs], according to professor Mieczysław Tomaszewski.

Thanks for your attention and good listening!

Chopin Mazurka Op.30 N.2

F. Chopin: Mazurka Op.6 N.4

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This Mazurka, in E flat minor, is the last of the opus 6 mazurkas composed by Chopin. It appears to be a memory of a lyric Kujawiak instead a real piece of dance. Chopin gave this Mazurka a quick tempo – presto ma non troppo – quick but not too quick. A lot of pianists play it very quickly, although I think that the correct tempo is a melody of a nostalgic kujawiak, quick but not too quick, according to professor Mieczysław Tomaszewski.

Thanks for your attention and good listening!

Chopin Mazurka Op.6 N.4

F. Chopin: Mazurka Op.6 N.3

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This Mazurka in E major has rustic melodies and motives that dominate all the piece. In this piece the gesture rhythms of Mazur changes in a Kujawiak melody. The Mazur (a traditional Polish folk dance from Masovia) has two themes: the principal theme, returning like a refrain, and the secondary is an episodic theme. Kujawiak appears, floats between reverie and animation and then disappears, according to professor Mieczysław Tomaszewski.

Thanks for your attention and good listening!

Chopin Mazurka Op.6 N.3

 

F. Chopin: Mazurka Op.6 N.1

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Mazurka

The Mazurka, in Polish Mazurek, is a couple dancing with widespread triple rhythm across Europe. The etymology of the word Mazurka is of Polish origin and derives from Mazury, Mazury in Polish, or Mazovia, names of two Polish regions, to Mazurek, a village near Warsaw, where the first 500 originated this dance, or Mazur, the Polish peasant. The mazurka is therefore born in Poland as a folk dance and has spread since 1700 throughout the ‘Europe; from 800 compositions by Chopin, Tchaikovsky, Debussy and others they contributed to increasing its spread. The Mazurka, as the waltz is a dance to acrobatics on triple time but with a more moderate pace and driest movement, accentuated by back-heel that accompanies the end of each sequence choreography. The musical feature of this dance lies in the rhythmic accent fall on the second beat of the measure. This peculiarity, which also belongs to other Polish national dances, would have a curious origin: it derives from the trotting horses. When they heard the trot of a horse carefully, you will feel the second beat of the hooves is stronger than the first. Originally the Mazurka was danced by an undetermined number of pairs and only later took the form of dance for four or eight pairs arranged in a circle around the ballroom. The Mazurka emerged as popular dance and departs from the polonaise, a typical dance of the aristocratic circles of the time and characterised by slow cadences and track time for its lively and bubbly nature.

Mazurka Op.6 N.1

Chopin composed this mazurka around 1830-1831 and it was dedicated to Ferdinand Hiller and Pauline Plater. The Mazurka in F sharp minor has characteristics of a Kujawiak poetic and sublimated by Chopin with his melody in time stolen and his movement of a rocking dance. The second theme of the Mazurka brings strength and vitality, and a series of typical accents of a Mazur heel. Finally, the third theme, in joking, refers to the model of an Oberek, so in this mazurka three features are included Polish dances. As soon as it was published had great success so much so that a couple of years later, stimulate the interest of a Spanish singer and student of Chopin, Pauline Viardot, who had the idea to add the words to some of his mazurkas so they could be sung, according to Professor Mieczysław Tomaszewski.

Thanks for your attention and good listening!

Chopin Mazurka Op.6 N.1