3 Mazurkas Op.50 (Chopin).

Both the traditional mazurka and Chopin's versions contain a great deal of repetition: this can mean repetition of a single bar or small group of bars, repetition of a theme, or even repetition of an entire section. This repetition makes sense in the traditional dance for the repeat of a certain section of the actual dance; even though Chopin DID NOT compose his mazurkas so they could be danced to, it is clear that Chopin kept the original form in mind. Furthermore, many of the rhythmic patterns of the traditional mazurka also appear in Chopin's compositions so they still convey the idea of a dance, but a more "self-contained, stylised dance piece." In keeping with this idea, Chopin did try to make his mazurkas more technically interesting by furthering their chromaticism and harmony, along with using classical techniques, such as counterpoint and fugues. In fact, Chopin used more classical techniques in his mazurkas than in any of his other genres. One of these techniques is four part harmony in the manner of a chorale.
The year of composition is 1841-42, and was first published in1842, in Vienna, by Pietro Mechetti.
Chopin dedicated the set to Leon Szmitkowski.
The three dances are:-
1. Vivace (lively) in G major.
2. Allegretto (fairly fast) in A♭ major.
3. Moderato (medium speed) in C♯ minor.
GlynGlynn, alias GB, realiser.
Please feel free to leave any comments, be they good, bad, or indifferent as to whether the piece, or the performance, moved you in any way whatsoever!
(Since music is an aural art, and not a visual one, it is best to listen to these pieces, and other artists performances, with eyes closed, so as to be able to listen intently as to how the music is portrayed).