Frederic Chopin Mazurka Research Paper - 1110 Words.
Fryderyk Chopin’s Mazurka in F minor, Op. 68, No. 4 exhibits an astounding amount of chromaticism in such a short piece. Due to the sheer amount of chromaticism, a Roman numeral analysis is difficult to do.
In the final analysis, the evolution of genres in Chopin’s oeuvre is only a certain tendency that may reveal itself to a weaker or stronger extent in individual works.. (e.g., Mazurka op. 50 no. 3, m. 33-45).. In the original volume Transformations of Chopin’s Style, the study by Andrzej Tuchowski.
Note also the similarity of this central section with Op.10 No.3 and Op.25 No.7, the way in which the hands must operate almost fully independently of each other, yet in perfect synchronisation. This is yet another of Chopin s mind exercises teaching the hands and fingers to work independently yet in concert with each other. Opus 25 no.11.
Release includes eight-page booklet with essay in English only on Mazurkas by Jeremy Siepmann. Recorded in London 1976-1985 Barcode and Other Identifiers.
While this is certainly a work of high quality, it is not the most popular mazurka in the Op. 33 set, that honor falling to No. 25, the B minor, which, at about five minutes, is also the longest in the group. This C major mazurka lasts a mere two minutes in a typical performance.
The four pieces, in G minor, C major, A flat major and B flat minor, were published in 1836 in Leipzig. In this set, Chopin transforms the mazurka from a quaint dance piece for the salon into a more ambitious musical essay. One of Chopin's most ethereal passages introduces the fourth of the Op. 24 set.
There are some mazurkas, such as Op 24 No 3, when an inexplicable kinesthetic magic takes over and the world’s rotation all but stops. Prone to lose its way in rhetorical excess, Op 30 No 2 here remains shapely, proportionate. In the familiar Op 6 No 1, the contrasting middle section borders on the terrifying.