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F. Chopin: Mazurka Op.7 N.3

Dario Gatto Pianist

The 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 close the piece. According to Professor Mieczysław Tomaszewski.

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

Portrait of J. S. Bach, circa 1745 (Image in public domain)The Fuga is one of the most complex and interesting compositions of Bach and is characterized by the imitation.

Its structure, in general, is even if others have some variants of the following scheme: exposure, counter exposure, development and entertainment, close, pedal

The elements that characterize it are four: SUBJECT, ANSWER to dominant tonality, CONTROVERSY, FREE PART.

«The preludes and fugues of the well-tempered harpsichord are the Old Testament, Beethoven’s sonatas the New Testament of a pianist». Hans von Bùlow

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F. Chopin: Mazurka Op.7 N.3

The 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 close the piece. According to Professor Mieczysław Tomaszewski.

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F. Chopin: Mazurka Op.7 N.2

Mazurka op. 7 No. 2 was composed by Chopin in A minor. It has an intimate sound and at some times even graceful. The central part instead seems to evoke a medieval festival music with a trumpet ring. In fact in the album of Elsner’s daughter, Emilia was found a previous version, with an initial chorus in the key A major, drawn from the music of a band of rural players, to whom Chopin wrote word Dudy (Bagpipes). According to professor Mieczysław Tomaszewski.

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F. Chopin: Mazurka Op.7 N.1

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.

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F. Chopin: Mazurka Op.30 N.2

This Mazurka is in B minor with 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 fore, 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.

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F. Chopin: Mazurka Op.6 N.4

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.

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