Of the piano works of Chopin, the mazurka, maybe more than his works in other categories, permitted him to experiment with different harmonic and melodic colors, uncommon balanced patterns, and customized, personal expressive traits. The category draws upon the music of the author’s native Poland, consisting of the dance kinds of the Mazur (strong, irregular accents, moderate pace), the Kujawiak (slow, streaming tempo, singing in nature, more subtle accents), and the Oberek (strong, irregular accents, fast tempo, spontaneous in nature). Just as each dance type has its own character, it likewise has a specific rhythmic formula. Some of Chopin’s mazurkas are recommendations to a specific dance, however many are something of a collage, assembling aspects which sound like pieces of waltzes and nocturnes. The outcome is a highly different collection of 57 pieces, each with its own individual characteristics. The later mazurkas reveal the advancement of Chopin’s compositional capability, as more area for growth and advancement is offered in the longer pieces.
Op. 50 starts with a grand and worthy mazurka, abundant in melodic and harmonic development. The Aeolian mode which Chopin utilizes adds to a sensation of mystery and upcoming threat. What follows is a reflective, tender waltz, with a rhythmically steady, easy going middle passage. The 3rd mazurka utilizes the rhythmic and particular qualities of the Mazur, the Oberek, and the Kujawiak. In weaving the three together, Chopin uses several contrasting contrapuntal and accompanimental figures, including fugal imitation, thicker chordal textures, and waltz pattern bass lines. The piece appears to disappear, but it ends with two surprising and accented cadence chords.
Free Download Classical Music Sheet Chopin Mazurkas Op. 50
|Name Translations:||Mazurkas, Op. 50; マズルカ作品50 (ショパン); Masurques op. 50; 3 Mazurche op. 50|
|I-Catalogue Number:||IFC 54|
|Year/Date of Composition:||1841–42|
|First Publication:||1842 – Vienna: Pietro Mechetti|