Chopin Mazurkas

Mazurkas Op. 17

No. 1 in B-flat major: This mazurka is filled with bombastic intensity brought on by thick textures with swift and unexpected changes in register. The B section displays one of my favorite romantic-style traits which is that when the texture changes suddenly the composer will give several measures with only the bass highlighted so that you have time to prepare for something new. This is similar to the section in the Polonaise Op. 53 with the left hand octaves.
No. 2 in E minor: This piece is interesting to me in its combination of a nocturne like sound which changes suddenly to a mischievous dance. It seems almost like a faery-tale which begins sweetly in the countryside and unexpectedly becomes devilish.
No. 3 in A-flat major: This mazurka reminds me a bit of the A-flat Ballade, not only because of its key but because of the opening melodic material. One of the more interesting facts about this nocturne is its modulation to the key associated with the tritone. The melodic content is much more simple and repetitive within this mazurka than in the others. I would say that this piece is more motivically driven.
No. 4 in A minor: The polyphony used in this mazurka is haunting and touching. The repeated chord style makes this sound to me like the E minor prelude. I find Chopin’s limited use of the “boom-chic” bass to be interesting. He utilizes it in several brief moments when the “mazurka sound” is given a limited presence.

Mazurkas Op. 59

No. 1 in A minor: The rhythmic instability of the beginning, caused by only partially including downbeats in the bass mixed with subdivisions on the 1st and 3rd beats, creates a feeling of extreme uneasiness within this Mazurka. The section in A major begins like a hymn tune, as if it would be a peaceful release from the first section. However, the involvement of chromatic polyphony reinstates the agitated sorrow of this piece. I enjoy Chopin’s method of beginning the chromatic scale in the right hand and then taking it over with the left hand once the tune re-enters. This serves to join the accompaniment and the melody as if they were of equal importance.
No. 2 in A-flat major: This mazurka is far more stable than the previous one. The aspect of this piece which grabs my attention is Chopin’s complete departure from smooth voice-leading rules. I would think that this habit of changing registers by drastic intervallic leaps would have more to do with the idea that Chopin is using multiple voices to carry out single ideas. In the way that instrumental sections of an orchestra can have large leaps within their parts and still their timbres will not interfere with, but rather aid the instruments carrying the melody.
No. 3 in F-sharp minor: The use of the triplet on the first beat gives this mazurka, though in a minor key, a light and peppy feel. As if this were a piece of mischief rather than sorrow. The second section contains constantly evolving rhythms which supply the music with great and unpredictable excitement. In this mazurka Chopin displays great talent in combining transparent textures with highly complex ones, which do not obstruct flow despite the short and condensed nature of the composition.